Paul Saintilan

The creative and cultural industries represent a growing and important sector in the global economy. Thriving in these industries is particularly tough and organizations face unique challenges in the digital age. This textbook provides a vivid initiation into the creative industries workplace.
Managing Organizations in the Creative Economy is the first textbook of its kind, introducing organizational behaviour theories and applying them to the creative world. The text is underpinned by the latest research and theoretical insights into creative industries management and organizational behaviour, covering key topics such as structure, culture and the management of change and creativity as well as contemporary issues such as diversity, sustainability, managing stress, wellbeing and self-care, and remote working. The authors bring theory to life through practical examples and cases provided by industry experts, supported by specially created companion videos featuring managerial responses to the cases.
This unique textbook provides readers with an applied theoretical understanding of organizational behaviour that will be of particular benefit to those looking to work in the creative and cultural industries. Students on courses such as arts business, arts management and music business, and even students within the broader study of the entertainment and creative industries, will find this to be a vital read.

Numerous studies demonstrate the extraordinary vulnerability musicians have towards addiction, and this book attempts to examine all the facets that contribute to the problem and suggest ideas for addressing it. It takes the pilot article available from Academia (‘Musicians and Substance Abuse’) and expands the literature review in that article significantly, which becomes section 1. Section 2 presents personal insights from 30 contributors working in the Australian, US and UK music industries. This includes 12 excerpts from interviews and autobiographies of well known musicians, 12 specially commissioned recovery stories from musicians working across multiple genres, and a series of professional perspectives. The final section of the book examines the implications for individual musicians, organisations and the industry as a whole. The book potentially has relevance to visual artists, novelists, actors and other creative people. It will be published in June 2020, in paperback and eBook (Kindle and formatted eBook). See the companion website for further information: www.musicianaddiction.org

This thesis examines managerial orientations and beliefs in large music organisations. The study uses a qualitative, interpretive approach to explore the research problem of how managerial beliefs influence and underpin Product Orientation (PO) and Consumer Orientation (CO). It also examines the organisational implications that arise from these beliefs, such as interfunctional tension between artistic and marketing departments.

If you are interested in marketing/artistic manager conflict in arts organisations, and problems with arts organisations being 'customer oriented' then this study will be of interest to you.

The creative and cultural industries represent a growing and important sector in the global economy. Thriving in these industries is particularly tough and organizations face unique challenges in the digital age. This textbook provides a vivid initiation into the creative industries workplace. Managing Organizations in the Creative Economy is the first textbook of its kind, introducing organizational behaviour theories and applying them to the creative world. The text is underpinned by the latest research and theoretical insights into creative industries management and organisational behaviour, covering contemporary issues such as business decision-making and ethics. The authors bring theory to life through practical examples and cases provided by industry experts, supported by specially created companion videos featuring managerial responses to the cases. This unique textbook provides readers with an applied theoretical understanding of organizational behaviour that will be of particular benefit to those looking to work in the creative and cultural industries. Students on courses such as arts business, arts management, music business and even the broader study of the entertainment industries will find this to be a vital read.

Six cases for students studying music organizations in arts management
or music business programs. Each case presents a fictional vignette of
organizational life, designed to simulate a conflict situation. The final case presents an historical analysis of an antitrust case involving the Three Tenors.

This article scopes out five pressures that influence the vulnerability of musicians to alcohol and drug dependence: the pressure to be creative; the pressures generated by performance anxiety; the challenge of managing emotional turbulence such as doubts and fears while living a hectic, pressured life; social, cultural and workplace pressures to drink or use drugs; and dealing with identity issues (public persona versus private self, subcultural identity, and issues with fame and celebrity). Academic research and biographical material are woven into the article to explore and substantiate points being raised. The article concludes with a request for unpublished recovery stories from musicians that discuss the pressures, the way they used alcohol and drugs to deal with them, and how they recovered. The article potentially has relevance to visual artists, novelists and other creative people.

How do managers within large music organisations deal with their own aesthetic preferences when developing and marketing new work? In this qualitative, international study, data were collected through 24 interviews with senior managers. The study found strong differences of opinion, ranging from managers being strongly invested in their own aesthetic preferences, to bringing an 'agnostic' attitude that their personal preferences should be ignored in deference to those of the target audience.

This paper explores managerial beliefs that act as barriers to consumer centric innovation in artistic enterprises. Marketing has traditionally adopted consumer centricity as a normative framework, yet ‘product orientation’ and resistance to consumer centricity have been observed in arts organisations. This paper draws on a larger qualitative study, researching perceptions of new product development among managers in large music organisations in the UK, USA and Australia, within both commercial and non-profit contexts. The research identifies six product oriented beliefs that act as barriers to consumer centric innovation: artistic autonomy; artistic leadership; personal attachment to the product; the absolute nature of quality; conviction based on ‘gut’ feel; and artistic authenticity. This in-depth study of product oriented beliefs contributes to a more precise and systematic analysis of these barriers to consumer centricity. These beliefs pervaded the ‘idea generation’ stage of new product development, but the commercialisation stage involved considerable consumer focus.

Saintilan, P. (2010) ‘Program modularisation’, Occasional Papers, Vol 2, 2010-2011, edited by C. Graham and T. Shannon, The Australian Institute of Music, pp 3-7. Available online at http://www.aim.edu.au/media/aimrc/ocassional-papers/2015/occassional-papers_vol2_10-11_online.aspx Accessed 18/2/2016.  The paper discusses program modularisation in the context of the Master of Arts Management program at Sydney Opera House.

A case study for students studying music organizations in music business or entertainment management programs. "PolyGram Holding", commonly known as "The Three Tenors Case" has been one of the most cited antitrust (anti-competitive) cases of the past twenty years, yet the discussion has been largely confined to legal journals and the U.S. antitrust community. What can managers in large commercial music and entertainment organizations learn from the case? What are the practical implications? The paper argues that the case influences the conceptualization and structuring of certain types of joint venture deals, and that the core problem initially arose from attempting to address an internal conflict of interest issue within PolyGram. The case also demonstrates the confusing nature of antitrust law for a practicing music manager.

The newly appointed VP of Data Analytics at Galaxy Records, was on fire. He had already earned the respect of his colleagues for his valuable marketing insights. Yet he wanted more. He wanted to help guide the new creative work of the label's biggest stars. But the CEO was dismissive of his ideas. 'You know, Sheldon, every time the Romans were saying "Vox populi, vox Dei", "the voice of the people is the voice of God", that was when they didn't know what to do!'

A case study for students studying music organizations in music business or entertainment management programs. This case explores interfunctional conflict at the artistic/marketing interface in large music organizations. Two scenarios are presented where artistic and marketing executives clash, one in a commercial record company context, and one in a non-profit symphony orchestra context. Students are invited to explore the underlying issues that drive the tensions.

A case study for students studying music organizations in music business or entertainment management programs. Senior executives adopt conflicting positions in an artist relations crisis, encouraging class debate on the appropriate course of action. The case is informed by qualitative research.

A case study for students studying music organizations in music business or entertainment management programs. Should the artistic leader of a music organization select artists and repertoire based on their own personal taste? Is it natural and inevitable or an unprofessional indulgence? The case draws on qualitative research.

A case study for students studying music organizations in music business or entertainment management programs. This case explores issues such as the organizational tension that occurs between centralization and decentralization, and tensions that arise between head offices and branches.