Organising Music Theory, Practice, Performance

Organisational theorists have become increasingly interested in the creative industries, where practices that are commonplace are of particular interest to organisations in other sectors as they look for new ways to enhance performance. Focusing on the music industry, this book sets up a unique dialogue between leading organisational theorists and music professionals. Part I explores links between organisation theory and the creative industries literature, concentrating on practices of organising and knowledge mobilisation, followed by an in-depth discussion of key theoretical concepts by subject experts. Part II provides a diverse range of 'tales from the field', including examples from classical orchestras, folk, indie and punk. The concluding chapter examines the shared dialogue to reveal what practice in the musical field can learn from organisational theory, and vice versa. This innovative book will interest graduate students and researchers in the fields of organisation studies, music management and the creative industries.

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.

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.