Chapter 261 Modern management model of symphony orchestra (4.8K two-in-one
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"Would you visit some top music critics or musicians to create more noise in advance? Go to attend some high-society events to increase your personal appeal? Or discuss with the record company a future exclusive ticket discount policy?"
Qiong guessed at several currently popular art management methods, as well as the methods Fan Ning used.
Judging from the response, she didn't seem to have guessed it right. She leaned back in her chair and said, "Well, Caroln, what I'm most interested in is actually the 'afternoon tea until you throw up' in your description."
"To be sure, we need to confirm this with Sir Viadrin." Fan Ning said, "Well, the preliminary direction of the opening season has been decided. Next, we will discuss the departmental structure design of the old symphony orchestra.
"
He once again distributed a small piece of engraving paper that had been printed in advance to everyone.
"Six departments? Slightly more in number than the current symphony orchestra, and the names are different." Roy read carefully and compared the management models of mainstream orchestras in his impression, "Art Committee? This is the first one I
Have you never heard that the Arts Committee is the musician department responsible for the performance?"
"Music Department? Performance Department? Aren't they all responsible for internal affairs? What's the difference?" Kaplan looked back and was confused.
This world not only "emphasizes inspiration over theory" in art, but also lags behind in the field of arts management. Even among the top ten orchestras, management is still very extensive.
Their market performance and public response are entirely driven by their extremely high-quality musical performances.
Fan Ning also believes that content level is fundamental, but a scientific operation and management model can often leverage strengths and avoid weaknesses, making the bad less bad, making the good even better, and making the orchestra more capable of resisting risks.
Therefore, Fan Ning's structural model is completely based on the modern symphony orchestra management model of the previous life. Of course, he pays more attention to the "guiding ideology" behind it rather than the superficial "same form", so he made a lot of simplifications.
To adapt to the actual art industry here.
"You may think it is different from what you have known before, so I will explain it to you starting from the art committee." Fan Ning held up the document.
“The first management principle of the old symphony orchestra was ‘limited degree of autonomy’, and the implementation of this principle relied on the artistic committee.”
“This is the core department of the Old Symphony Orchestra, where all artistic-related professional decisions are discussed and made, including artistic assessment and training plans, including performance repertoire, record production and mid- and long-term rehearsal plans, as well as the staffing of each part.
, departure or stay, chief appointment and guest conductor invitation, etc.”
"It is led by a few core members. The members theoretically include all formal musicians, but in fact it is just a trend. After the orchestra is established, I will only temporarily include some musicians into the art committee, and then add a group regularly every year
, every musician who goes in has a vote to influence decisions.”
"Musicians are the core strength of a symphony orchestra. When I give them high salaries or economic status, I will also give them political status. This will give them a stronger sense of ownership and make them more active in making suggestions for the development of the orchestra.
Making the team atmosphere more harmonious will also give them another direction of progress to look forward to every year. After all, there are too few principal and deputy principal positions in an orchestra, and being included as members of the Art Committee also means that the orchestra recognizes that they have older qualifications.
Better ideas and better technology.”
Speaking of this, Fan Ning explained with a smile: "But the so-called 'limited degree of autonomy' principle is also reflected in this: the list of new additions every year is decided by me, and their weight in decision-making voting is not the same as mine. As a commander,
, I will still take the power of life and death in all affairs of the orchestra into my own hands, and be responsible to my followers and appreciators with the most perfect artistic performance."
This seemed to be an unheard of and quite superior system. Roy couldn't help but think about it.
Think about the chief conductors or music directors of other orchestras, who are either too loose or too arbitrary in style. Although Mr. Fanning still has full control over power, he has more troubles in avoiding personal limitations and the risk of being deceived.
Be clear-headed and respect art and artists more.
“The second is the principle of ‘ticket integration’.”
Fan Ning continued: "To be specific, I will separate the 'ticket management' business that used to be attributed to finance and the 'customer service' business that was attributed to internal affairs, and integrate them into the publicity and marketing department, turning it into a 'comprehensive operations department'.
Concert pricing strategies, ticket production and issuance management, contact with sales outlets, and high-quality music fan maintenance services are often in the same up-and-down chain as publicity and marketing. Such integration facilitates unified actions, forms synergy, and eliminates internal friction within the department.
"
"Whether everyone can make money in the future will all depend on the 'Integrated Operations Department'." He smiled when he said this, "So, in the early stages of the band's operation, I will pay more attention to this department and teach them step by step how to set sales targets.
Decompose and implement plans, how to research art market preferences, how to analyze peer promotion strategies, how to serve music fans with different consumption levels, how to plan and organize art activities, and select appropriate media and advertising agencies, etc., what sales
I have to learn all about funnels, cognitive communication strategies, and PDCA working methods. If the head of this department does a good job, his salary will be higher than anyone else in the future, and I have to carefully select the candidates."
Everyone began to listen and became stunned.
"The third is the principle of 'separation of music performance'."
"This is what Kaplan was wondering about before, why there is a 'Music Department' and a 'Performance Department'. It's very simple. Music and performance are separated, and internal affairs directly related to music belong to the former, and those indirectly related to the latter.
"
“For example, the collection, sorting and printing of music scores, the issuance and recycling of parts for each part during rehearsals, the registration and compilation of musical instruments, the distribution of orchestra consumables such as strings, rosin, and horn oil, the notification of rehearsal plans, and the tuning of pianos, harps, and timpani.
The music management department is responsible for the statistics of music players' attendance and assessment, performance travel subsidies, reception of external artists, music critics, collectors and media personnel."
“Those responsible for lighting, costumes, props, and fire protection, those responsible for security inspection during performances, cutting tickets, and maintaining order in the concert hall, those responsible for contacting external theaters, loading and unloading stages, those responsible for audio-visual equipment and daily material collection, and those responsible for transportation and actors
Food and accommodation. These belong to the Performance Department.”
Fan Ning smiled softly: "Believe me, this will make everyone's work experience more comfortable and efficient than ever before, make the relationship between musicians and internal staff extremely harmonious, and at the same time, greatly improve the efficiency of human resources."
If other symphony orchestras could learn from this idea, their internal affairs level might undergo a qualitative change, and they would not have any non-musical incidents. Capron has heard too many live performances and visited
Enthusiasts who have been to too many theaters and concert halls now have dull eyes.
"The rest is relatively simple. The administrative department is responsible for personnel and finance, government relations and external personnel management, and there is also an 'art management department'. I have temporarily adopted the structure of the previous Turner Art Museum, with two people in charge of exhibitions and auctions.
Manager, 20 staff members. There is one more manager here, and the Arts Committee does not have a manager, so we still recruit 6 managers.”
Three major principles: "limited degree of autonomy", "ticketing integration", "separation of music performances". Six major departments: "Art Committee", "Administration Department", "Comprehensive Operations Department", "Music Department"
After Fan Ning explained the structure of a modern symphony orchestra that drew on previous generations, he began to explain the details one by one.
Originally, Fan Ning was talking about a discussion, but now everyone is nodding their heads, and Kaplan and Olga are taking notes carefully throughout the process.
Roy sat upright, holding a pen on his chin, and watched Fan Ning's explanation attentively, with light flowing in his blue eyes.
Speaking of which, I did have a vague feeling before that Mr. Fan Ning not only has superb musical talent, but also seems to have some brains in art management.
But look at it this way.
Damn it, between his artistic achievements and his commercial status, there’s no telling which of them will reach the “master” level first!
The exchange at Professor Anton's villa started after dinner and lasted until nearly 10 o'clock in the evening, when everyone stood up and stretched.
"Mr. Fanning, you live far away by yourself. Do you want me to take you back to East Mecklen?" Roy asked.
"No, you go first." Fan Ning tilted up the easy chair and put his arms on the back of his head, showing no intention of going back.
"Oh." She nodded thoughtfully.
"Kapulun, why are you in such a hurry to change your shoes?" Fan Ning asked.
"Ah?" Kaplan stood up straight in confusion.
"You don't want to learn command skills? I'm taking advantage of the fact that I'm here today to take the first lesson."
"Oh, okay, okay." Capron said as if he understood, and sat back on the sofa.
"Come on, Mr. Capron." Roy raised his fist at him.
After those people went out one after another and waved goodbye to each other, Kaplan stood up again, said good night to Fanning and Sheeran, walked to the door and bent down to change his shoes.
"What are you doing? Are you okay?" Fan Ning stopped him again.
"Ah?" Kaplan stood up straight again, "Professor Fan Ning, are you really in class?"
"if not?"
“Okay, okay”
Phew. Going to class? It’s not like I was caught off guard. This was the same thing as preparation for the interview.
Two minutes later, Olga took her daughter and sat down on the sofa again to wait. Sheeran also watched with interest.
Kaplan took out his baton and stood in front of the seven-foot "Ctissibio" piano as if facing an enemy.
"Why are you so nervous?" Fan Ning almost felt that he was about to start a fight with the members of the Evil God Organization.
He smiled and shook his head, sat down in front of the piano and opened the lid: "I will play the overture to Meyer's opera "Rinuccini" and you will play."
"Okay."
After Kaplan gave a trembling hint of preparation, Fanning played a powerful octave with both hands, and the brilliant theme entered directly from the 6/8 downbeat.
Kaplan's movements are very consistent with the standard positioning of the academic school. He uses the waist as the base, the head as the top, the left and right shoulders as wide, the left and right hands move within their respective ranges, and the midline meets the head without crossing.
After the overture presentation, Fan Ning raised his hands and commented: "The six basic skills you demonstrated last time are indeed very solid in practice. The hitting line, reflection line and shooting point are clear and stable, the strokes are sharp and angular, and the line swings are clear and stable."
Smooth and relaxing.”
He was referring to the dotted swings and linear swings that Capron played in 2/4, 3/4, and 4/4 time on the train that day.
Kaplan smiled sheepishly.
"So to set the standards high, do you know what the problem is with this piece?" Fan Ning then asked.
"I'm a bit restrained and stereotyped, and I'm not good at controlling complex systems." Kaplan answered immediately, and it was obvious that he had been thinking about it all the time. "For example, the brilliant forte at the beginning, I couldn't express with precise gestures.
I use the maximum intensity of my emotions, and the same is true later. Once I fully release my reasons for loving a certain section, my swing will be out of control, or once I get to a section where certain parts of the voice enter one after another, I can't help but enter.
Trying to maintain the state of mechanical counting..."
"Have you ever wondered why?"
"The professor who taught me said that it's because the basic skills are not yet proficient enough. Once they become physical instincts, they will naturally be able to allocate energy to solve emotional problems."
"Then what's the solution they gave?"
"They asked me to practice more basic skills, and then they continued to demonstrate to me those passionate and accurate swings, and even broke down the movements so that I could find inspiration."
...It can be seen that they know how to do it themselves, and they really want you to learn it, after all, you spent so much money. Fan Ning shook his head and smiled.
"Capron, your problem has nothing to do with 'finding feelings', nor has anything to do with 'not being emotionally in place'."
"Ah?" Not only Kaplan was stunned, but Xilan who was watching was also confused.
"Let me ask you first, what do you think is the core characteristic of a good conductor?"
"The movements are chic, elegant and passionate, fully mobilizing the emotions of the musicians and the audience?" Kaplan replied tentatively.
"Wrong." Fan Ning shook his head.
“The first core of conducting is ‘accuracy’, or the accuracy of swinging the racket.”
"Some people will say, doesn't this mean that the conductor is just keeping time? If the music only keeps pace with the time throughout, without any ups and downs, can this be called a good conductor?"
"Of course it's not, this is not 'precision', it's called 'mechanical'."
"The so-called 'accurate' means: your entry and closing timing of more than twenty parts is accurate, your grasp of the elastic speed of music is accurate, and your instructions for the intensity changes of each segment are accurate.
, your layered control of timbre and color is precise, and your interpretation of the emotions conveyed by expression terms is precise..."
"Conducting is indeed a time-tapping job, but these all belong to the category of time-tapping. You use the baton and body or facial expression cues, and if you keep the time well, your performance will naturally be high-quality."
"There are exceptions. For example, in works from the early or medieval period of Authenticism, the composer provided relatively few hints beyond the notes. This requires the conductor to rely on his musical literacy and dig more into the 'hidden rules' of the period and style."
"Another example is my teacher Professor Anton. His works also have too few hints and require extremely talented conductors and orchestras to complete the true intention in his mind. This objectively led to the failure of his debut and his current cold reception.
.”
"But in fact, for most orchestral works, as long as you lead the orchestra to make all the 'explicit rules' marked by the composer, and then grasp the 'hidden rules' corresponding to the period and style, you will have completed a 'young artist's performance"
' level interpretation, on this basis, if you can properly integrate your personal style, it will be a 'famous artist' or 'great artist' level."
"And I also learned from Teacher Anton's lessons and marked extremely detailed instructions in my works. If you 'beat' the time, you can accurately compose the previous "First Symphony" or the future "Second Symphony"
"Everything on ", your interpretation can be as authoritative as mine."
"Then how can I swing the racket accurately?" Kaplan couldn't help but ask after hearing this, "So it's still a question of basic skills. I'm not familiar with the six swing modes, right?"
"No." Fan Ning shook his head, "You practiced correctly and solidly, which made you a qualified conductor assistant. To be honest, I don't even know how many times you repeated the decomposition movements and how many scores you studied.
, you have formed a muscle memory of the trajectory and landing point of each swing..."
"Then I..." Kaplan's eyes widened.
"The biggest problem that hinders your advancement is that you don't know why you need to do those actions."
"In other words, you don't know where those so-called point swings and linear swings come from, why they need to break down the movements so much, and why changing the rebound line of a certain bat line can change the speed and intensity of the band.
…”
"Okay, in 15 minutes, you will be familiar with the core issues of command, and then the formal teaching will begin. Forget about emotions and feelings first, and temporarily put aside the basic movements you learned before, and wait for you to
Once you have mastered the precise swing, you will naturally rely on your own artistic understanding to embark on the path of pursuing your personal style."
Fan Ning smiled calmly when he said this, and raised a slightly longer pencil to act as a baton.
"Now let me start from the beginning and tell you the movement principles behind the 'physical process' of 'racquet swing'. They are the origin of various command techniques and command movements. I will restore the process to you step by step and demonstrate the so-called 'swing'.