Music Organisations

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 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.

La Société de musique contemporaine du Québec, les Événements du Neuf, l’Ensemble contemporain de Montréal et le Nouvel Ensemble moderne sont au cœur de l’essor de la musique contemporaine au Québec. En donnant à entendre de nouvelles œuvres et des pièces incontournables du répertoire, ces organismes ont servi de médiateur entre le public montréalais et les créateurs et ont influencé l’ensemble du milieu musical. À travers 515 programmes de concert présentés entre 1966 et 2006 se révèlent les implications artistiques, administratives et politiques entourant la fabrication du répertoire, sa réception dans la presse musicale et le développement du goût du public.

Ce livre invite à réfléchir au rôle déterminant que ces quatre organismes musicaux ont joué dans la création et la diffusion musicales au Québec pendant la seconde moitié du XXe siècle. Destiné tant aux musicologues qu’aux musiciens, compositeurs et professionnels des organismes culturels ainsi qu’aux mélomanes curieux de découvrir l’histoire de ce foisonnement créatif, cet ouvrage de référence est accompagné d’un catalogue des concerts disponible dans le Répertoire de la vie musicale en pays francophone.

At the 1953 ISCM Festival in Oslo, former president Edward Clark punched one of his successors at the ISCM presidential committee, the composer Benjamin Frankel, in the face; thus bringing longstanding tensions in the British section to international attention. At a following court case in which Clark additionally accused Frankel of slander, national newspapers picked up the incident, which doubtlessly provided a spicy insight into the otherwise secretive processes of an international musical organisation whose attempts to balance musical and national politics with aesthetics had become increasingly difficult (‘Music Society President Hit Composer on Jaw’, in The Manchester Guardian, 15 June 1955).
This paper examines the ISCM’s post-War crisis in its intimate connection with Clark, one of the organisation’s most loyal, yet highly problematic, key players. Administrative, financial, political, and personal issues brought an abrupt end to Clark’s ISCM career in 1952, with an additional humiliation when he found himself stripped of his lifetime honorary presidency status after the Oslo incident. Unsurprisingly, Clark is blamed for the ISCM’s declining reputation and finances, but also for the partial loss of its archive (Haefeli, IGNM. Die Internationale Gesellschaft für Neue Musik, Zürich 1982). But with the help of reports of the 1955 court case, Clark’s archive, and other correspondence and documents, a more complex picture of the ISCM’s political challenges after 1945 arises, centring around the administrative structures of the British section and its affiliated organisations (LCMC and ICA), as they sought to secure the ISCM’s position in Britain.

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.