As far as the livelihood of studio musicians was concerned, industrial action and litigation on various contractual issues did little to make their post-war employment prospects either stable or lucrative.
When in 1947 ASCAP attempted to raise its already substantial licensing fees for the use of copyrighted music in motion pictures, such fees at that time being paid by both producers and theatrical outlets, the result was a court case that three years later ruled against the Society and seriously diminished com-posers’ income from royalties (Prendergast 1992, 57–8).
Spurred on by the foundation of the Screen Composers’ Association in 1945, composers meanwhile continued to campaign vociferously for the intellectual rights they felt they should enjoy over their creative out put a sentiment entirely alien to the mentality of producers, who regarded film music as their own property just as were a studio’s scenery and costumes.
Without the backing of strong and coherent union representation, however, the composers’ agitation ultimately ‘helped cripple their own case in the struggle for copy right control by adhering to an anachronistic conception of authorship . . . By representing themselves as artists who transcended the usual relations of production and consumption, studio composers undermined their effortsto better these very relations’ (Flinn 1992, 33).
These issues again came to thefore in 1971–2 when the Composers and Lyricists Guild of America went onstrike, and the copyright cause continued to be passionately championed byElmer Bernstein throughout his career.
Performers, too, had become morebelligerent about working conditions, not always to their advantage.

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