Accountants: The Arts need you;

              The Megalopolis Philharmonic Orches-tra is celebrating its 50th anniversary season in one of America's larger cities. Its Viennese-born conductor is hap-pily awash in a Mahler cycle, while the Orchestra manager finds himself inun-dated by a sea of nonmusical problems including a faltering maintenance fund campaign, an inefficient box office ac-counting system inherited from a previ-ous manager, and a new union contract which will increase the orchestra's hud-get from $1,700,000 to $2,500,000 in three years.
In the Megalopolis suburb of Rose-dale, the Rosedale Little Theatre is about to open its sixth season with Bus Stop. Samuel Powers, the director and only paid member of the company, is frantically whipping his volunteer ac-tors into a thespian frenzy while trying to write a Sunday newspaper ad and to rationalize a financial report to his board, due the following day, which will reveal that the hooks are three months behind. What is more, he has no idea how much money has been re-ceived in season ticket sales.
Jerry Wintergreen, a prominent Megalopolis painter, is ruefully con-templating his morning mail which contains a letter from his New York dealer ecstatically reporting some fa-vorable reviews of his latest show, and a notice from the Internal Revenue
Mr. Burgard is the executive director of Asso-ciated Councils of the Arts, the national asso-ciation of state and community arts councils. He therefore makes a plea for help from accountants which the editors believe many Hi?S families will find deserving their atten-tion. The author of numerous articles and of the hook Arts In the City, he has directed or managed orchestras and art councils in Provi-dence, Buffalo, Winston-Salem and St. Paul.
Service that he owes the federal gov-ernment $1,800 because of inaccurate returns filed in 1966 and 1967.
Successful corporate leaders have long proclaimed that business is an art as well as science: but only recently has management of the arts been recog-nized as business.
Scenes like the hypothetical ones above are being reenacted daily in American cities. They offer accountants an unparalleled opportunity to use their skills and judgment to improve the quality of American life by assisting artists and art institutions. In turn, the accountant and his wife can add a new dimension to their lives by participat-ing in the world of painters, musicians, actors, dancers, and such art institu-tions as museums, theatres, and sym-phonies.
Since World War II, America has seen an unprecedented growth in the numbers of arts institutions and in-terest in them. For example, Associated Councils of the Arts, the national or-ganization for state and city arts coun-cils, estimates that in the United States there are now 30 professional and 1,450 ^vocational symphonies; 28 pro-fessional and 5,000 avocational thea-tres; 620 art museums; 740 opera com-panies and 230 dance companies. In Canada there are about 40 arts coun-cils under professional direction, some 40 symphonies and 102 art museums.
The arts do not pay their way
Income from memberships and ticket sales cannot fully pay the costs of run-ning a professional symphony, theatre, or museum. Major orchestras must raise between 20 and 70 per cent of their an-nual income from contributions in order