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Organising Music

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Table of Contents

1. Introduction Nic Beech, Stephen Broad, Ann Cunliffe, Celia Duffy and Charlotte Gilmore; Part I. Orienting Ideas: Organisation and Organising: 2. Music and the aesthetic study of organisational life Antonio Strati; 3. Organising and storytelling David Sims; 4. Organising, music and metaphor: of connections, comparisons and correspondences Cliff Oswick; 5. Resisting change and changing resistance Robyn Thomas; 6. Identity work: organising the self, organising music Christine Coupland; 7. Creative strategy Chris Bilton and Steve Cummings; Markets and engagement between production and consumption: 8. Music and the making of markets Katy J. Mason; 9. Consumers and marketing Mike Saren; 10. Branding and the music market Chris Hackley; 11. Being in the room Alan McCusker Thompson; 12. Music and marketing Alan Bradshaw; Organising in complex environments: 13. Complexity theory Robert MacIntosh and Donald MacLean; 14. On leading in networks: the role of reflexive practices Paul Hibbert; 15. All of me: art, industry and identity struggles Casper Hoedemaekers and Sierk Ybema; 16. The process of improvisation Simon Rose and Raymond MacDonald; 17. Managing artistic work in the real world Davide Nicolini and Gail Greig; Part II. Tales of Experience: Organising and Performing: 18. Organising playing: reflections on the festival business Nod Knowles; Organising music festivals Louise Mitchell and Dimi Stoyanova Russell; Organising and playing a boutique festival Johnny Lynch and Gretchen Larsen; Managing the Zoeys: some reminiscences Martin Cloonan; Managing a punk band Marco Panagopoulos and Shiona Chillas; Blogging, running a label and band management Lloyd Meredith and Shiona Chillas; The organising and artistic demands of orchestral performances Simon Webb and Martin Dowling; Leadership in the BBC Philharmonic Richard Wigley and Elizabeth Gulledge; Orchestrating a flashmob: reach and reputation Jane Donald and Gail Grieg; Developing a university's musical culture: a partnership approach Michael Downes; Organising the National Pop League events John Hunt, Carlo Zanotti and Charlotte Gilmore; Starting record label: Song by Toad Matthew Young and Dimi Stoyanova Russell; 19. Playing and organising: traditional music and the network Lori Watson and Charlotte Gilmore; Multiple simultaneous projects in traditional and electronica and orchestral music Chris Stout and Charlotte Gilmore; Storytelling and performance R. M. Hubbert and Elizabeth Gulledge; Creating and making an album Jenny Reeve and Charlotte Gilmore; Relationships between music, management, agents and labels Jill O'Sullivan and Shiona Chillas; Dead or American: reasons to be fearless Chris Cusak; Experiencing a creative journey Martin Henry and Daragh O'Reilly; Musical identity: solo artist and band projects Ben Talbot Dunn and Kevina Cody; An embodiment of a band Duglas T. Stewart, Charlotte Gilmore and Peter Keenan; Rock music on the big stage Jim Prime and Peter Keenan; Playing in the Royal Scottish National Orchestra Lance Green, Katy MacKintosh and Charlotte Gilmore; Reflections of a gigging musician Ian Smith and Charlotte Gilmore; 20. Next steps in the dialogue: insights for practising and theorising Charlotte Gilmore and Nic Beech; Index.

About the Author

Nic Beech is Vice-Principal and Head of the College of Arts and Social Sciences at the University of Dundee and Chair of the British Academy of Management. His research interests are in management practice, change and the construction of identity in the music industry, health, financial services and creative industries. He has extensively published in the field of organisation studies and is the author of Managing Change (Cambridge, 2012) and Managing Creativity (Cambridge, 2009). Charlotte Gilmore is a Chancellor's Fellow at the University of Edinburgh Business School. Before taking up her position at Edinburgh, she was a Lecturer in Creative and Cultural Industries at the University of St Andrews. Her area of interest is the creative industries and her work has been published in Human Relations, Management Learning and the British Journal of Management.


'We have had the linguistic, reflexive, postmodern and practice turns, and we are now experiencing more of an exciting turn to explore what the language, organisation and practices of the arts can contribute to our understanding of organisational performance. This excellent book is a major contribution to this field, providing both a succinct and accessible contribution to the field of organisational studies, and case studies and reflections on what the field might learn from music and the music industry. I can thoroughly recommend it.' Richard J. Badham, Macquarie Graduate School of Management, Sydney 'Articulate and wonderfully knowledgeable, this book stimulates fresh thinking about music making and organization theory. Bringing together two fields apparently disconnected, it offers valuable insights to be drawn from essays written by contributors from a wide range of professional and academic specializations.' Silvia Gherardi, Universit... di Trento 'This book is a must for all of us who are interested in organizations and music, but it also provides more general fundamental insights into the organizing structures, processes and performances in our lives and society at large. Great composition, orchestra and virtuosity.' Eero Vaara, Hanken School of Economics, Finland 'How the music industry plays to work has always fascinated management theorists. In this book, the free and easy open play of the music industry collides with organisational theory - to mutual benefit.' John Wallace, CBE, Former Principal of the Royal Conservatoire of Scotland

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