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Leading an institution in a period of change is one of the toughest challenges in cultural management today. As director of the philharmonie zuidnederland (South Netherlands Philharmonic), Stefan Rosu developed the idea of an independent scientific centre on Classical Music to conduct research on orchestras and advise them regarding innovation and renewal.
Stefan Rosu, 2018-12-10
The IAMA meetings twice a year are a firm date in many artist managers diaries. The first one of this year took place in Utrecht, Holland April 7-9, 2016, and attracted over 400 delegates with the motto "Shake it off". This could be interpreted in various ways - shake off the depressive mood that has become so prevalent when talking about classical music or shake off the old ways of doing business and take active steps in new directions. Both interpretations were equally valid within the context of the discussions.
Zenaida des Aubris, 2016-05-25
The South Netherlands Philharmonic (SNPh) is the result of severe cuts in Netherlands state subsidies for the arts. These cuts resulted in the merger of two former orchestras into the SNPh. The SNPh started in 2013 after extensive strategic financial and managerial approaches were made. At the beginning of its third season the new orchestra is now widely seen as a successful artistic body and a flourishing arts-institution with a close relationship to its region.
Stefan Rosu, 2015-11-18
Peter Gelb is General Manager of the Metropolitan Opera, one of the worlds largest and most complex arts organizations. Since his inauguration in 2006, he launched a number of new projects to attract new and younger audiences. But the debts are still growing and as the Met is the most lavish privately financed opera house in the world, the opinion of the wealth and patronaging older opera lovers play an important role when it comes to management decisions.
James Abruzzo, 2015-05-26
There are all kinds of starting points for discovery trips in todays dynamic and developing music education scene. One journey might begin here: in the midpoint of Europe, in the Grand Duchy of Luxembourg, where the Philharmonie Luxembourg is situated. The concert hall is home to the Orchestre Philharmonique du Luxembourg (OPL).
Stephan Gehmacher, 2014-08-18
Three-quarters of the audience in a football stadium does not understand the moves. And still, they all attend. An essay about the idea that classical music could also be suitable for the masses, as the problem is not because of musics complexity but through its elitist status.
Benedikt Stampa, 2014-07-11
The overall topic of this issue, Music A Public Affair?! allowed the EMC to include a wide range of approaches. This resulted in a broad spectrum of topics covered in the articles from the EMC's member organisations which reflect the diversity of the areas of activity they are engaged in. An introductory note by Doris Pack (Chair of the Culture Committee of the EU Parliament) as well as an interview with representatives of the EU Commission give a political viewpoint on the topic Music A Public Affair?!.
Contemporary music is characterized by a quest to meet its audience in new ways. The music frequently incorporates other art forms such as performance, dance or lighting design. It is played not only in traditional concert halls, often the musicians goes in direct dialogue with the audience, and sometimes the concert form is as much a work of art as the scores performed.
NewAud is a project on strengthening such experiments with new concert forms on the international level. The goal of NewAud is to test and demonstrate the future concert forms of contemporary music in a direct cooperation between music ensembles in 17 countries.
Music China, Asia Pacifics leading music event, ended on a positive note with the recording breaking number of participants reaffirming the fairs position as the professional choice for reaching the burgeoning Asian market. The show was held from 11 14 October at the Shanghai New International Expo Centre, Shanghai China. Filling 86,500 sqm of exhibition space were 1,606 suppliers of musical instruments and related products from 30 countries and regions, including 11 pavilions representing Belgium, the Czech Republic, France, Germany, Italy, Japan, the Netherlands, Scandinavia, Spain, Taiwan and the United Kingdom.
Commenting on the largest ever visitor numbers, Mr Evan Sha, General Manager, Messe Frankfurt (Shanghai) Co Ltd said: "This year we attracted 60,172 visitors from around the world who can depend on Music Chinas offerings of high quality products and unique networking opportunities to further their business objectives. They also had the chance to learn more about the industry through our comprehensive fringe programmes, as well as being entertained by live demonstrations and indoor and outdoor concerts."
The European Festivals Association (EFA) celebrated its 60th anniversary with a Jubilee Gala from 23-25 May 2012 in Bergen, Norway. Debate was shaped by 180 participants from 46 countries and regions in the world, by delegates from sister festival networks from Africa, Asia and the Arab region, by Alumni of the Atelier for Young Festival Managers, and by politicians of EU, national and local levels.
Topics such as innovation, business and audience participation in digital times are feeding into the Bergen Agenda which is to characterise EFAs work in the years to come. Furthermore, the Association released its Jubilee publication and first film entitled 60 Years On: Festivals and the World and admitted five new members. The gathering saw many festive highlights including an artistic closing moment with Carte Blanche.
Looking through the pages of this latest IFPI Digital Music Report, you see a striking paradox: on one hand, there is the innovation and drive of a business that has led the way for creative industries in adapting to the digital age; on the other hand, the extraordinarily difficult environment in which these changes are taking place. This is the ninth report that we at IFPI have produced documenting the evolution of the digital music sector worldwide. It has been a challenging and often painful transition, but as we enter 2012, there are reasons for real optimism. The digital music business has now reached out to encompass the globe. The largest international legitimate digital music services are present today in no fewer than 58 countries this number has more than doubled in the last twelve months.
Paris/Bonn/Tallinn, August 4, 2011 - The organisers of the 4th IMC World Forum on Music are pleased to announce that NAMM president and CEO Joe Lamond will be presenting a keynote address at the 4th IMC World Forum on Music on Thursday, September 29, 2011.
In keeping with the overall conference theme of Music and Social Change, Lamond will address the role of commerce and the music products industry to create access to music making for people of all ages and NAMMs ongoing music education advocacy efforts.
Since 2001, Joe Lamond has been president and CEO of NAMM, the global not-for-profit trade association representing 9,000 manufacturers and retailers of musical instruments and sound products. NAMMs mission is to strengthen the music products industry and promote the pleasures and benefits of making music. Lamond leads a team of dedicated NAMM employees towards accomplishing its mission by reinvesting proceeds from the annual NAMM Show, the worlds largest trade-only event for the music products industry, into grants and programs that expand access to music education and increase active music making.
26 30 Oct 2011
WOMEX is "The most important international professional market of world music of every kind. This international fair brings together professionals from the worlds of folk, roots, ethnic and traditional music and also includes concerts, conferences and documentary films. It contributes to networking as an effective means of promoting music and culture of all kinds across frontiers." (UNESCO Global Alliance for Cultural Diversity)
Moshito Music Conference and Exhibition is turning up the heat on the business of music in South Africa with its most extensive and impressive conference programme to date - once again confirming its standing as Africas premier music industry event aimed at developing and stimulating the domestic industry.
Established in 2004, Africas only annual music market takes place from August 31st to September 2nd at the Sci Bono Discovery Centre in Newtown, Johannesburg. The 2011 event features over 30 sessions of panel discussions, information sessions and workshops. Music industry and related specialists from South Africa, Africa, the USA, Spain, Canada, Indonesia, Colombia and several other countries will be taking part in the three-day programme.
One of the main areas of discussion centres on digital music with two sessions taking place on August 31st that are essential for anyone creating, using or working with digital music and serve to turn day one into a substantial offering for top-level businesspeople.
The EC is proposing to set up a new fund for cultural and creative industries. It will be part of a new 1.6bn euros 5 year programme called Creative Europe, which will include loan and equity financing instruments to be administered by the European Investment Bank. The new programme would start in 2014. The EC published its proposal last night.
This new financial instrument is expected to help increase lending to music and other cultural companies by guaranteeing loans by national banks. This would address the existing market failure in terms of accessing finance and growth capital. IMPALA estimates that up to 400 million euros could be allocated to loan guarantees and other financial instruments.
Reporting from the 66th Conference of the League of American Orchestras in Minneapolis St. Paul is really tricky: some 1000 participants from a broad range of orchestras are dicussing problems for orchestral organizations from the US and Canada. Volunteers, donors, board members, musicians, conductors, staff members from the fulltime professional orchestras are mixed up with those from youth orchestras, community and non permanent orchestras. There is a big awareness of the necessity of a change in business models, in safer capitalization of orchestras, in new patron models, in new accessability for audiences and in new dialogues between management and musicians before (!) collective bargaining. Two third of the major US orchestras do have a deficit in their bugdets and they will need a robust innovation. The recent bankrupty of Honolulu, staff cuts, shortening seasons, the six month strike at the Detroit Symphony Orchestra, the financial problems of the Philadelphia Orchestra are symptoms for the topic turmoil situation of US orchestras, after the economic downturn.
American orchestra managers do have a very special problem: nobody does want to tell bad news to his board members, donors, patrons or sponsors. Nobody wants to jeopardize giving and contributions with bad news. There was a great willingness at the conference to talk more open on the real problems of orchestras than in earlier years. There seems to be a need for the renewal of dialogue cultures in American orchestra organizations.
Hosted by the Sinfonia ViVA the 26th ABO annual conference in Derby (Midlands) from February 16 -18 with many representatives from British orchestras discussed their future. These are dangerous times for arts organisations, but the annual conference is grasping the nettle and looking at how its members can ride with the punches, wrote Andrew Stewart in the conference magazine. Arts Council of England is to be expected announcing its cuts end of March 2011 which will mean some "bloody" decisions.

Gerald Mertens (German Orchestra Association) reports on the ABO annual conference 2011.
June 10th 15th, 2011
With this international study tour for young choral managers, the competition team is offering a chance to combine the musical impressions and experiences gained during the competition with an intensive seminar on how to organize such an event.
The work in a small and effective group of 8-10 people, the observation of the competition, the direct contact to its director and manager and the possibility to talk to the staff and to have a look back stage are an excellent opportunity for young organizers.
In the early 2000s the Orchestre Symphonique de Montréal (OSM), one of Montreals foremost cultural institutions, underwent two upheavals. First, management was thrown into turmoil by the unexpected departure of the OSMs celebrated music director, Charles Dutoit, just as the orchestra and its Swiss conductor were about to mark 25 years of successful partnership with celebrations planned for the 200203 season. Then, in May 2005, the orchestras management and board were faced with a strike by the orchestras musi-cians. The authors describe the efforts of the orchestras general manager, Madeleine Careau, to revive its fortunes, notably through a campaign to restore the OSMs prestige, which had been severely eroded by these two events.
Have you ever wondered what a conductor really does? Or how she (thats right!) picks the music? This website offers fans and first-timers a 140-character backstage pass to the wonderful world of classical music.
#askaconductor is the first #askthemusicians Twitter event. On December 8, 2010, conductors from around the world will come together to engage with fans, first-timers and complete strangers.