Asignatura

Gestión de las Artes Escénicas

  • código 11552
  • curso 1
  • periodo Trimestre 3
  • tipo op
  • créditos 3

Lengua de impartición principal: inglés

Profesorado

Responsable

Lc. Victor MEDEM - vmedem@uic.es

Horario de atención

Upon request and coordination at victor.medem@gmail.com

Presentación

The new habits of cultural consumption are conditioning the way of managing the performing arts in all its value chain: research and creation, production, distribution, exhibition and reception. As a consequence, all the agents that are part of the sector need to rethink their role, including the very approach of what we understand by performing arts.   Combining a careful selection of theory and methodology items with practice, we will know fist hand real cases of organisations and referential experiences in the sector, going into detail in new forms of management and considering the space these agents occupy in the performing arts ecosystem, allowing us to carry out a critical and transversal analysis and obtaining a holistic and global vision.

 

Music industry finds itself at a crossroad. Main actors and artist’s status has shifted dramatically over the last years. While music education and specific live concert events are boosting, recording industry and traditional promoters and festivals are facing a major crisis. The industry needs to redefine main actors’ role and detect new tendencies and tools for managing this new scenario.   

Within a rapidly changing domestic and international environment, the work of arts and cultural managers is becoming more complex and significant. The creative industries are growing rapidly and patterns of cultural work are changing. Cultural organisations and festivals are in a period of fundamental, pervasive and long-term change; managers must deal with a host of dramatic, often contradictory, demands and challenges. Through encouraging you to become critically reflective, the course will develop your knowledge of the contemporary issues affecting the management of arts organisations and festivals.

 




Requisitos previos

A passion for arts and culture, a solid educational background, and a desire to deepen these fields of interest and understand them in a professional context.

A general background of cultural history and specifically music history will be helpful.


Objetivos

- To deliver a general framework of global tendencies in music management.

- To develop leadership skills and inside knowledge for a highly competitive and complex business.

- To learn dealing with artistic capital and talent.

- To provide the students with a theoretical framework.

- Definition of the business structure and strategies in arts administration. Identification of processes and procedures involved in its creation, programming, management and production.

- Correct decodification of industry context, actors and momentum, that operate as inspiration or guide for own projects.

- Apply the acquired knowledge and abilities to solve problems in new or unfamiliar environments within multidisciplinary contexts

Competencias / Resultados de aprendizaje de la titulación

Basic competences

1.

To have and understand knowledge which provides a grounding or opportunity to be original in terms of development and/or application of ideas, often in a research-based context.  

2.

To know how to apply the knowledge acquired and the ability to resolve problems in new or little known environments within broader or multidisciplinary contexts related to the area of study.

 

General competencies

3.

To know how to communicate, encourage and mediate between the various agents who take part in a project, programme or cultural service.

4.

To act responsibly, and produce good quality rigorous and efficient work that is placed at the service of society.  

 

Cross-disciplinary competencies

5.

To design, direct, produce and evaluate projects, programmes, strategies, policies or cultural actions which involve a wide variety of different professional profiles, agents and institutions.

 

Specific competence

6.

To identify business structures in creative cultural industries at a global level and manage the processes and work procedures involved in their creation, programming, management and production.

Resultados de aprendizaje de la asignatura

  • The student knows how to communicate, encourage and mediate between the various agents who take part in a project, programme or cultural service.

  • The student knows how to act responsibly, and produce good quality rigorous and efficient work that is placed at the service of society.

  • The student knows how to identify business structures in creative cultural industries at a global level and manage the processes and work procedures involved in their creation, programming, management and production.

  • The student knows how to design, direct, produce and evaluate projects, programmes, strategies, policies or cultural actions which involve a wide variety of different professional profiles, agents and institutions.

Contenidos

Theatre management:

 

  1. To get into the groove

  2. Performing arts basics: #theatre #circus #dance

  3. Street arts today: participation, transculturality & public space

  4. Tightrope walking… or to create in challenging times

  5. Acrobatics on creating at local, national and international level

  6. Walking on the wild side: producing the unconventional

  7. The art of seduction: to buy, to sell, and the magic of communication

  8. Curating for performing arts festivals, theatres and some other exotic exhibition places.

  9. Culture and industry: what a strange couple!

Music management

  1. Live music sector: Event culture vs. Art preservation. Culture vs. Entertainment. An overview of festival and concert promoters typologies.

  2. Risk vs. Subsidies: History of the impresario. Deficit as a rule? Fundraising in different cultures. Social responsibility. Sustainability applied to music industry.

  3. Everyone does everything: Functions, job descriptions and human resources in music management.

  4. Everyone’s a DJ: Consumer as a prescriber. The thousand faces of the music consumer. The listener is the expert. Open music platforms. Social media or “arts media”?

  5. Classical music tendencies

  6. Learning while listening: A concert is not enough. Educational vocation.

  7. Let’s get practical: A guide to introduce main actors in the industry: promoters, festivals, concert halls, artistic agents, public administration (in Europe), copyright societies. Artists.

  8. Who knows? Speculations about future of the music industry. Collaborative management.

 


Metodología y actividades formativas

Modalidad totalmente presencial en el aula

Theatre management:

The study of the performing arts management in this module will focus to real experiences and projects. The theory and the key concepts to become skilled at will appear through the practical examples that will be analyzed during the sessions.


Music management

Course Material:

  • Relevant case-studies and articles are printed and handed to the students via intranet.

Course Methodology:

  • The course comprises 9 lectures, several case studies and practical cases, which will be discussed in class.

  • Apart from the lectures and the case studies, the course will include at least one guest lecture by recognized professionals in the music industry.

Sistemas y criterios de evaluación

Modalidad totalmente presencial en el aula

Theatre management:

The subject will be assessed by the average of two marks: the attendance to classes (this is a taught course in which attendance is obligatory) plus the creation of a final essay.

The final essay will focus on the critical analysis of an article proposed by the professor at the beginning of the module.

Music managment:

Attendance & Class Participation         30%

Group Assignment and Presentation     70%

Performing

TEACHING METHODOLOGY

The study of the performing arts management in this module will focus to real experiences and projects. The theory and the key concepts to become skilled at will appear through the practical examples that will be analysed during the sessions.

EVALUATION

The subject will be assessed by the average of two marks: the attendance to classes (this is a taught course in which attendance is obligatory) plus the evaluation of the final essay at theatre managment and a group assignment for music management. 

 


Bibliografía y recursos

 

  • Baskerville, David and Baskerville, Tim. Music Business Handbook and Career Guide. SAGE Publications Ltd 2013.

  • Baumol, William J. & Bowen, William G. Performing Arts - The Economic Dilemma. The MIT Press (September 15, 1968).

  • Bernárdez, J. Case-study: Sonar, the International Festival of Advanced Music and Multimedia Art of Barcelona. 2013.

  • Britten, Anna. Working in the music industry. How to find an exciting and varied career in the world of music. How to books Ltd. 2009 – Third edition.

  • Colbert, François. Marketing Culture and the Arts. Press HÉC-Montréal 2007 – Third Edition.

  • Harrison, Ann. Music: The Business. The Essential Guide to the Law and the Deals. Virgin Books 2011- 5th Edition.

  • Kotler, Philip, and Scheff, Joanne. Standing Room Only: Strategies for Marketing the Performing Arts. Harvard Bussines School Press-1997.

  • Passman, Donald S. All You Need to Know About the Music Bussines. Free Press 2006 –Sixth Edition.

  • The VIP-Booking European Live Entertainment Book. European Edition 2014.

  • Vincent, J. in collaboration with Louise, G. 10 Music Contracts. UNESCO, 2009.

  • http://www.unesco.org/fileadmin/MULTIMEDIA/HQ/CLT/diversity/pdf/WAPO/10Music_en.pdf

  • Andersen, Lisa & Oakley, Kate: “Making meaning, making money: directions for the arts and cultural industries in The creative Age”, Cambridge Scholars, Newcastle, 2008, ISBN: 1-4438-0065-1

  • Artistshousemusic: http://www.artistshousemusic.org/

  • Kusek, David et altri: “The future of music: manifesto for the digital music revolution”, Berklee, Boston, 2005, ISBN 0876390599

  • Levine, Robert :“Free ride”, Doubleday, London, 2011, ISBN 385533764

  • Passman, Donald S.:“All you need to know about the music business”, Penguin Books, London, 2008, ISBN  9780141031156

  • Seifter, Harvey & Economy, Peter: “Leadership Ensemble: lessons in collaborative management from the world-famous conductorless orchestra”, Holt Paperbacks, New York, 2002, ISBN 0805071865

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