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14-21 – ​Music Program

Cadet Administrative and Training Orders (CATOs)

General

1. Bands play a significant role in cadet corps/squadrons of the Canadian Cadet Organizations (CCO). Cadet bands provide their corps/squadrons with accompaniment for ceremonial occasions add visibility within the community and build l’esprit de corps.  Equally important, the cadet music program provides individual cadets with a challenging, worthwhile means of developing as cadets, musicians and members of the community.

2. Music is part of the optional training in the corps/squadron program, the Cadet Summer Training Centre (CSTC) program, the Regionally Directed Activities (RDA) and the Nationally Directed Activities (NDA).

3. CATO 14-22, Marches and Calls has been cancelled and added in Annex C of this CATO.

Objectives

4. The main objectives of the cadet music program are:

  1. to provide skilled cadet musicians to corps/squadrons in support of corps/squadron training; and
  2. to provide individual cadets with the opportunity to develop as cadets and as members of Canadian society using music training and education as a vehicle.

Music Training

5. Cadet musicians shall participate fully in the applicable mandatory and complementary training program and are to be developed as musicians as part of the corps/squadron optional training program.

6. Music training emphasizes the following aspects:

  1. music training conducted at the corps/squadron is to concentrate on the music required in support of the overall corps/squadron program;
  2. music training conducted as part of the RDA/NDA is to concentrate on:
    (1) enhancing the development of music proficiency,
    (2) evaluating the music proficiency level of cadets, and
    (3) maintaining/increasing the interest of cadets in the music program through public performances and/or competitions; and
  3. music training conducted at CSTCs is to concentrate on:
    (1) developing the music proficiency of cadets, and
    (2) preparing cadets to support their corps/squadron bands and related music activities.

Creation of a Band

7. When a corps/squadron wishes to create a cadet band, the decision to do so must be made in consultation with the sponsoring committee responsible for provision and maintenance of musical instruments. Care must be taken to ensure that a plan is jointly developed, which is within the financial resources of the sponsor. A concise long- and short-term plan can assist in successful implementation and development of a band. This plan should include acquisition of sheet music, method books and instruments. As an aid in developing the initial plan, a suggested instrument acquisition sequence is contained in Annex A. Additional guidance may be obtained from the Regional Cadet Music Advisor (RCMA).

8. This plan shall be sent to the RCMA for review. Final approval for the formation of a cadet band is under the authority of the regional commander.

9. The cadet music program recognizes two types of bands:

  1. Military Band:  a band whose instrumentation includes woodwinds, brass, and/or percussion; and
  2. Pipe Band:  a band whose instrumentation includes pipes and drums (bugles may be worn by drummers).

10. Differences in elemental training requirements, in combination with the actual composition of individual corps/squadron, and the affluence of the sponsoring committee will have an impact on the type of band created.  In some cases it will be possible to build a large military band, while in others it will be a small percussion group.  Both bands are equally acceptable within the CCO.  What is important is how a band and the music training program are used to support the corps/squadron and to develop cadet musicians.

11. Each RSCU should provide instruments on loan to their corps/squadrons to maximize the use of the instruments held by the region and CSTCs and to better support corps/squadron training.

12. Once a corps/squadron band has developed a repertoire of marches and anthems necessary to its function, the scope of instruction may be expanded to include all types of music.

Financial Support

13. CATO 17-34, Local Support Allocation – Cadet Units provides guidelines related to financial support for optional training expenses, including music, at the corps/squadron level.

14. RCSUs may subsidize the cadet music program as part of their operating budget, to include RDAs, purchase of instruments and music, and repair and maintenance of instruments.

Music Proficiency Levels and Badges

15. A cadet may achieve one of the six music military band proficiency levels (Basic and 1 to 5) for each musical instrument. A cadet can achieve one of the five music pipe band proficiency levels (1 to 5) as a piper and/or a percussionist.

16. Music qualification standards are common to the three elemental programs. A cadet’s music proficiency level will be evaluated in accordance whit the following publications:

  1. A-CR-CCP-910/PG-001: Military Band – Music Proficiency Levels Qualification Standard; or
  2. A-CR-CCP-911/PG-001: Pipe Band – Music Proficiency Levels Qualification Standard.

17. The content of the CSTC music courses was designed based on the following music proficiency levels:

  1. Military Band – Basic Musician Qualification, Music Proficiency Level Basic;
  2. Military Band – Intermediate Musician Qualification, Music Proficiency Levels One and Two;
  3. Military Band – Advanced Musician Qualification, Music Proficiency Levels Three, Four and Five;
  4. Pipe Band – Basic Musician Qualification, Music Proficiency Levels One and Two;
  5. Pipe Band – Intermediate Musician Qualification, Music Proficiency Level Three; and
  6. Pipe Band – Advanced Musician Qualification, Music Proficiency Levels Four and Five.

18. The music proficiency levels are recognized on the cadet uniform using a system of badges based on the music training programs:

  1. Military Band: the badge represents a lyre; and
  2. Pipe Band: the badges represent either a pipe or a drum, depending on the instrument played.

19. The lyre badge will be given to a military band cadet achieving music Proficiency Level Basic, regardless of the instrument played. Each subsequent music proficiency level achieved will be shown on the uniform using a corresponding music proficiency level badge located under the lyre.

20. The pipe and/or drum badge and a music proficiency level badge will be given to a pipe and drum band cadet achieving music proficiency level one. The music proficiency level achieved will be shown on the uniform using a corresponding music proficiency level badge located under the pipes and/or drum badge.

21. Positioning of uniform badges is detailed in CATOs 35-01, 46-01 and 55-04.

Drum and Pipe Major

22. The appointment of a Drum Major or Pipe Major is at the discretion of the corps/squadron CO.  However, the following requirements shall be considered:

  1. cadet demonstrates skills and knowledge in band drill, commands and formations;
  2. cadet is qualified Music Proficiency Level 2; and
  3. cadet holds the minimum rank of Master Seaman, Master-Corporal, or Flight Corporal.

23. Corps/squadrons may use the Drum Major Assessment Form attached at Annex B to aid in the selection process.

24. Only one cadet may be appointed as the corps/squadron Drum Major or Pipe Major at any time.

25. The Drum Major or Pipe Major appointment badge shall be worn as described in CATOs 35-01, 46-01 and 55-04.

Summer Music Course Application and Selection

26. Complete lists of music courses, course prerequisites and selection criteria are specified in CATOs 31-03, 40-01 and 51-01.

27. CATO 14-11, Conduct and Administration of Cadet Summer Training Centres, provides directions with regards to the form(s) that shall be completed for a cadet applying to a music course.

Marches and Calls

28. A list of approved Marches and Calls for the CCO can be found at Annex C.

Copyrights

29. The rules governing copyright as set forth in the Copyright Act apply to the CCO.

30. This CATO describes three types of rights: reproduction rights, mechanical reproduction rights and performing rights. Depending on the type of right, the appropriate licensing body shall be contacted. These agencies will determine whether or not a work is in the public domain, prepare the necessary contracts with the owner and set the royalties to be paid.

31. “Public domain” means there is no copyright and, in effect, no one owns it. A musical work enters the public domain 50 years after the year of the death of the last surviving composer/author of the work (if nobody buys the rights).

32. The easiest and fastest way to obtain reproduction and performance rights is to buy the piece of music from an authorised retail establishment. In most cases, both rights are covered in the selling price. More details about the extent of the copyrights of a particular piece of music are included on the music sheet or book itself.

33. If a piece of music is not available at your local vendor, the following paragraphs provide alternate solutions and a search engine to help in finding the appropriate music publisher. Legal details about each type of copyright are also included and more information about the societies that manage them.

34. Before recording a CD, special consideration must be given to copyright regulation. Unlike performing and reproduction rights, recording rights (mechanical license) are not included in the purchase price of a piece of music.

Musical Work Reproduction

35. For the reproduction of music sheets, you must determine whether or not the book or periodical in question is covered by the contract with Access Copyright. This will involve writing to Access Copyright at: http://www.accesscopyright.ca . If the sheet music is not included in their database, you must obtain authorization directly from the copyright holder.

36. The best starting point for search of ownership is the ASCAP Clearance Express (ACE) search engine at www.ascap.com. This database holds the names of millions of song titles, and will give the name of the publishing companies that hold the rights.

Mechanical Licence and Cd Recording

37. Recording a CD can produce a nice momentum for the cadets and provide an interesting fundraising activity. However, only non-public funds can be used to finance the recording of a CD.

38. Permission to record copyrighted music must be obtained by applying for a Mechanical License. A Mechanical Licence is a contract granting permission to record music. A license is limited to a particular composition; permission must be obtained for each piece of music being recorded.

39. Most Mechanical Licenses can be filed through the Canadian Musical Reproduction Rights Agency Ltd (CMRRA) or the Society for Reproduction Rights of Authors, Composers & Publishers in Canada (SODRAC), which represent the vast majority of music publishers and the copyrighted musical work they own and administer. More details about the licensing process and forms are available at the following websites: http://www.cmrra.ca or http://www.sodrac.com

40. No fee is due if all the works in a CD are public domain. However, royalties must be paid if the music is copyrighted. CMRRA/SODRAC will establish the cost based on the information provided: number of copy manufactures and playing time for each song. Non-public funds must be used to pay the fees.

41. A request, including all necessary licenses for recording a CD, shall be sent to the RCMA. The RCMA will certify that the request is compliant with copyright regulations. Once the RCMA is satisfied with the file, he can authorize the recording of the CD.

Performing Right and Musical Performance

42. If a piece of music is used as part of training or functions, a performing rights licence shall be obtained from the Society of Composers, Authors and Music Publishers of Canada (SOCAN). A SOCAN performing rights licence grants the applicant the right to perform any of the musical works in SOCAN's repertoire in public.

43. A performing right is one of the rights granted to creators of copyright-protected works under the Copyright Act. More details about licensing and forms can be found on SOCAN’s website: http://www.socan.ca/.

44. No fee is due if all the works in a performance are public domain. Royalties must be paid if the music is copyrighted. SOCAN will establish the cost based on the tariffs set by the Copyright Board to accommodate the different uses of music. Corps/squadrons shall use non-public funds to pay the fees. RCSUs and CSTCs may use public funds to pay for the necessary licenses.

Musical Arrangements and Creation of Musical Arrangments

45. The same performing, reproduction and mechanical reproduction rights apply to musical arrangements. The relevant licensing bodies (CMRA/SODRAC/SOCAN) must be contacted to establish whether or not a specific musical arrangement is in the public domain.

46. To produce written arrangements of copyrighted music, permission must be granted by the owner of the rights. No agency is set up for collection of royalties. To ensure that the legal process has been followed, apply directly to the owner of copyright or representative of the composer and ask for permission

47. Requesting permission to arrange is a simple process requiring only an email request and a payment of a small fee.

48. The ACE search engine, as described in paragraph 35, can be used to determine the publishing companies that hold the rights.

Annexes

Annex A

​Suggested Instrument Acquisition Sequence

Annex B

​​Drum Major Assessment Form

Annex C

Marches and Calls

Annex C- Appendix 1

​Marches and Calls Authorized by the Director

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OPI:  D Cdts 4

Date: Aug 10

Amendment:  Ch 18/10

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