musicians of old

Chapter 261 Modern Management Model of Symphony Orchestra (4.8K [-] in [-])

"Will you visit some top music critics or musicians to make more noise in advance? Go to some high society events to increase your personal appeal? Or discuss with the record company about the discount policy for future guest tickets?"

Joan guessed several current art management methods, as well as the methods used by Fanning.

Judging from the response, she didn't seem to guess right. She leaned back on the chair and said, "Okay, Carlone, actually, what I'm most interested in is the 'afternoon tea until you vomit' in your description."

"To be on the safe side, I have to confirm with Sir Viadrin." Fanning said, "Well, that's the initial direction of the opening performance season, and the following discussion is the department structure design of the old symphony orchestra. "

He distributed a small piece of pre-printed engraving paper to everyone again.

"Six departments? In terms of number, it is slightly more than the current symphony orchestra, and the names are different." Roy read it carefully, and compared the management model of the mainstream orchestra in his impression, "Art committee? This is the first one for me. I have never heard of it, is the art committee the musicians department responsible for the performance?."

"Music Department? Acting Department? Aren't they all in charge of internal affairs? What's the difference?" Kaprun looked back in confusion.

This world not only "emphasizes inspiration over theory" in art, but also lags behind in the field of art management. Even if it is the top ten top orchestras, the management is still very extensive.

Their market performance and public response are all based on extremely high-quality music performances.

Fan Ning also believes that the level of content is fundamental, but a scientific operation and management model can often maximize strengths and avoid weaknesses, making poor ones not so bad, making excellent ones even better, and making the orchestra more resistant to risks.

Therefore, Fanning's architectural model is completely based on the management model of the modern symphony orchestra in his 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 reality of the art industry here.

"You may feel that it is different from what you have known in the past. Let me explain it to you starting from the art committee." Fan Ning held the document.

"The first management principle of the old symphony orchestra is 'limited degree of autonomy', and the implementation of this principle depends on the arts committee."

"This is the core department of the old symphony orchestra. All art-related professional decisions will be discussed and generated here, including art assessment and training programs, including performance repertoire, record production, and mid- and long-term rehearsal plans, as well as the staffing of each department. , resignation, chief appointment and guest conductor invitation, etc.

"It is led by a few core personnel. In theory, the members include all formal musicians, but in fact it is just such a trend. After the formation of the orchestra, I will only temporarily include some musicians into the art committee, and then regularly add a batch every year. , every musician who enters has a vote to influence the decision-making."

"In a symphony orchestra, the musicians are the core strength. 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 more actively contribute to the development of the orchestra. Making the team atmosphere more harmonious will also allow them to have another direction of improvement every year. After all, there are too few seats for the chief and deputy chief of an orchestra, and being included as a member of the art committee also means that the orchestra recognizes that they have older qualifications, Better ideas and better technology."

Fan Ning explained with a smile when he said this: "But the principle of the so-called 'limited degree of autonomy' is also reflected in this: the list of new inclusions every year is decided by me, and their weight in the decision-making vote is not equal to mine. , I will still take the life and death power of the orchestra’s affairs into my own hands, and be responsible to followers and appreciators with the most perfect artistic interpretation.”

It seemed an unheard of and rather superior system.Roy couldn't help thinking.

Think about the chief conductors or music directors of other orchestras, their styles are either too loose or too arbitrary, while Mr. Fanning still has the desire to control all aspects of power, but he has the ability to avoid personal limitations and the risk of being deceived. Sober awareness, and more respect for art and artists.

"The second is the principle of 'integration of tickets and transportation'."

Fan Ning continued: "Specifically, I will separate the 'ticket management' business that used to belong to finance, and the 'customer service' business that belonged to internal affairs, and integrate it into the publicity and marketing department to become the 'comprehensive operation department'. Pricing strategies for concerts, management of ticket production and ticketing, contact with sales outlets, and maintenance services for high-quality music fans are often in the same up and down chain as publicity and marketing. "

"In the future, whether everyone can make money depends entirely on the 'Comprehensive Operations Department'." He said this with a smile, "So, in the early stage of the orchestra's operation, I will pay more attention to taking care of this department and teach them how to achieve sales goals. Decomposition and implementation of the plan, how to investigate the preferences of the art market, how to analyze the promotion strategies of peers, how to serve music fans with different consumption levels, how to plan and organize art activities, and choose the right media and advertising agencies, etc., what sales The funnel, cognitive communication strategy, and PDCA work method all have to be learned by me. If the person in charge of this department does a good job, his salary will be higher than everyone else in the later stage, so I have to choose carefully.”

Everyone began to be stunned gradually.

"The third is the principle of 'separation of music performance'."

"This is what Kaplan was wondering before, why there is a 'music department' and a 'performance department', it's very simple, the music performance is separated, the internal affairs directly related to music belong to the former, and those indirectly related to the latter. "

"For example, the collection, arrangement and printing of music scores, the distribution and recycling of scores for each voice part during rehearsals, the registration and compilation of musical instruments, the distribution of orchestra consumables such as strings, rosin, and trumpet oil, the notification of rehearsal plans, and the tuning of piano, harp, and timpani. Law, statistics of musicians' attendance, assessment, performance travel subsidies, and reception of external artists, music critics, collectors and media personnel belong to the Music Affairs Department."

"And those who are responsible for lighting, costumes, props, and fire protection, those who are responsible for security checks during performances, cutting tickets, maintaining order in the concert hall, those who are responsible for contacting external theaters, installing and unloading stages, those who are responsible for audio-visual equipment and daily material collection, and those who are responsible for transportation and actors. Board and lodging. 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, making the relationship between musicians and internal staff extremely harmonious, and at the same time, greatly improving the efficiency of human resources."

If other symphony orchestras can learn this way of thinking, their internal affairs level may undergo a qualitative change, and there will be no oolong incidents other than music.Kaplan, an enthusiast who has listened to too many live shows and visited too many theater concert halls, stared blankly at this moment.

"The latter is relatively simple. The administration department is responsible for the management of personnel and finance, government relations and external personnel. There is also an 'art management department'. I have temporarily followed the structure of the former Turner Art Museum. Two departments in charge of exhibitions and auctions Manager, 2 employees. There is one more manager here, and the art committee does not have a manager, so we still recruit 20 managers.”

Three principles: "limited degree of autonomy", "integration of tickets and transportation", and "separation of music performances".Six major departments: "Art Committee", "Administration Department", "Comprehensive Operation Department", "Music Affairs Department", "Performing Affairs Department", and "Art Management Department".

After Fan Ning finished explaining the structure of the modern symphony orchestra that was borrowed from his previous life, he began to explain the details to everyone one by one.

Originally, Fanning 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 and resting his chin, concentrating on Fanning's explanation, with light shining in his blue eyes.

Speaking of which, I did vaguely feel that Mr. Fanning not only has superb musical talent, but also seems to have some brains in art management.
But look at it this way.
Hell, his artistic achievement and commercial status, it's uncertain who will reach the "master" level first!

The communication in Professor Anton's villa started after dinner and lasted until nearly 10 o'clock in the evening, when all the people stretched their waists and stood up one after another.

"Mr. Fanning, you live far away by yourself, do you want me to take you back to East Mecklen?" Roy asked.

"No, you guys go first." Fanning lifted the easy chair, resting his arms on the back of his head, showing no intention of going back.

"Oh." She nodded thoughtfully.

"Kaplan, why are you in a hurry to change your shoes?" Fanning asked.

"Huh?" Kaprun stood up in doubt.

"You don't want to learn conducting anymore? Take advantage of the fact that you are here today, and take the first class."

"Oh, yes, yes." Kaplan made a comprehension, and sat back on the sofa.

"Come on, Mr. Kaplan." So Roy raised his small fist at him.

After those people went out one after another and waved goodbye to each other, Kaplan got up again, said good night to Fanning and Sheeran, and walked to the door to bend over and change their shoes.

"What are you doing? Are you all right?" Fanning stopped him again.

"Ah?" Kaplan stood up straight again, "Professor Fanning, is it really a class?"

"if not?"

"OK, OK"

Phew. Going to class. It's not too unexpected. This is the same thing as preparing for the interview.

Two minutes later, Olga sat down on the sofa with her daughter and waited, while Sheeran watched with interest.

Kaprun drew out his baton, and stood in front of the "Ketisibio" seven-foot piano as if facing an enemy.

"Why are you so nervous?" Fan Ning almost felt that he was going to start a fight with the members of the Cthulhu organization.

He shook his head with a smile, sat down in front of the piano and opened the cover: "I will play the overture to Meyer's opera "Rinuccini", and you will play it."

"Good."

After Kaplan tremblingly gave the tip of the pre-beat, Fanning played a powerful octave with both hands, and the brilliant theme entered directly from the 6/8 strong beat.

Capron's movements are in line with the standard positioning of the academic school. He uses his waist as the bottom, his head as the top, and his left and right shoulders as wide as possible.

After the prelude presentation, Fan Ning raised his hands and commented: "The six basic skills you demonstrated last time are really solid in practice. The hitting line, reflection line and shooting point are clear and stable. Flow and relax."

他指的是卡普仑那天在火车上所打2/4、3/4、4/4拍子的点状挥法和线状挥法。

Kaplan smiled embarrassedly.

"So to set the bar high, do you know what's wrong with this song?" Fanning then asked.

"I'm somewhat restrained and templated, and I'm not good at controlling complex systems." Capron replied immediately, and it was obvious that he had been thinking all the time. The most powerful force in my emotions, and the same is true later. Once I fully release my reasons for loving a certain piece, the swing will lose control, or as soon as certain parts enter the passage one after another, I can't help it. In order to maintain the state of mechanical digital beat..."

"Have you ever wondered why?"

"The professor who taught me said that it's because the basic skills are not proficient enough. When it becomes a physical instinct, it will naturally be able to allocate energy to solve the problem of emotional inadequacy."

"Then what is the solution they gave?"

"Tell me to practice more basic skills, and then they continue to demonstrate those passionate and accurate swings for me, and even break down the movements, so that I can find inspiration."

…you can tell they know it themselves, and really want you to learn it, after all the money you've spent.Fanning shook his head and smiled.

"Kaplan, your problem has nothing to do with 'feeling', and it has nothing to do with 'emotional inadequacy'."

"Ah?" Not only Kaprun was taken aback, but Hiran, who was watching, was also puzzled.

"Let me ask you first, what do you think are the core characteristics of a good command?"

"The movements are chic, elegant and passionate, fully mobilizing the emotions of the musicians and the audience?" Kaplan tentatively replied.

"Wrong." Fanning shook his head.

"The first core of command lies in 'precision', or the precision of the swing."

"Some people will say, doesn't this mean that the conductor just keeps the time? If the whole piece of music only knows how to go along with the time, without lukewarmness and no ups and downs, can this be called a good conductor?"

"Of course it's not, it's not 'precision', it's 'mechanical'."

"The so-called 'precise' means: you are precise about the timing of the entry and closing of more than [-] parts, your grasp of the elastic speed of the music is precise, and your indication of the intensity change of each segment is precise , your level of control over timbre and color is precise, your interpretation of emotions conveyed by expressive terms is precise..."

"Conducting is indeed a job of keeping time, but these all belong to the category of keeping time. If you use the baton plus body or facial prompts, if you beat the time well, the performance will naturally be of high quality."

"There are exceptions, such as the works of the early period of Bengeism or the Middle Ages. The composer gave relatively few hints beyond the notes. This requires the conductor to use his musical literacy to 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. He needs extremely talented conductors and orchestras to realize the real intention in his mind. This objectively leads to the failure of his premiere and the current cold reception. .”

"But in fact, for most orchestral works, as long as you lead the orchestra to make the 'clear rules' marked by all composers, and then grasp the 'hidden rules' corresponding to the period and style, you will complete a 'young artist' ' level of interpretation, on this basis, if it can be properly integrated into the personal style, it will be the level of 'famous artist' or 'great artist'."

"And I also learned from Teacher Anton's lessons and marked extremely detailed instructions in my works. If you can accurately compose the previous "First Symphony" or the future "Second Symphony" ", your interpretation can be as authoritative as mine."

"Then how can I swing accurately?" Kaplan couldn't help asking when he heard this, "So it's still a matter of basic skills. I'm not familiar with the six swing patterns, right?"

"No." Fan Ning shook his head, "You practice correctly and solidly, which makes you a qualified conductor assistant. To be honest, I don't even know how many times you repeated the decomposition movements and studied how many scores , You have formed muscle memory for the trajectory and landing point of each swing..."

"Then I..." Kaprun widened his eyes.

"The biggest problem hindering your progress is that you don't know why you have those movements."

"In other words, you don't know how those so-called point-like swings and linear swings come from, why you need to decompose the movements so much, and why you can change the speed and strength of the band by changing a certain type of beat line rebound line. ..."

"Okay, 15 minutes, let you know the core issues of command, and then start the formal teaching. You forget about your emotions and feelings, and temporarily put aside the basic movements you have learned before, waiting for you to ' "Precise swing" is mastered, and on this basis, I will naturally embark on the road of pursuing my own style with my own artistic understanding."

Fanning smiled lightly when he said this, and held up a slightly longer pencil to act as a baton.

"So now I will start from the beginning and tell you the movement principle behind the 'physical process' of the 'swing', which is the origin of various command techniques and command movements. How 'pattern' was designed."

(End of this chapter)