Venue Management

Monografia submetida ao corpo docente do curso de Pós-Graduação em Gestão e Gerenciamento de Projetos – Universidade Federal do Rio de Janeiro – UFRJ, como parte dos requisitos necessários à obtenção de título de Especialista em Gestão e Gerenciamento de Projetos.
O trabalho acadêmico versa sobre a importância de desenvolver um plano de gerenciamento de projetos em recursos humanos e stakeholders em grandes eventos, tendo como foco a área de segurança pública e privada responsável pelo evento. Durante o desenvolvimento do trabalho, será conceituado o termo “grandes eventos” e será demonstrada a importância da integração das demais áreas funcionais para um bom planejamento e execução do plano de segurança. Além disso, trata-se neste trabalho sobre os conceitos basilares do gerenciamento de projetos, segundo o Project Management Institute – PMI – de acordo com o seu manual de boas práticas em gerenciamento de projetos – Project Management Body of Knowledge. Ao final, será desenvolvida uma proposta de plano de gerenciamento das comunicações e stakeholders para o plano de segurança em grandes eventos

In this essay, I will try to explain some key considerations for designing experiences, and how they link to customers’ needs. In the light of the identified considerations, I will focus on the case of Amway Center in Orlando, home of NBA’s Orlando Magic, as they are known for successfully turning every home match into a memorable experience for their fans in this state-of-the-art venue.

The growing body of research on live music events and the industry around it has paid
little attention to the lived experience of the local promoters, their work and the
negotiations that take place within small venues. The aim of this article is to demonstrate
the multiple roles and hierarchies that the local jazz club promoter deals within the
organisation of events and the main “cooperative links” (Becker 2008) that the promoter
works with. Based on ethnographic fieldwork in the southern UK conducted mainly
around London, this article illustrates how external power structures emerge within a
music club, which is also the terrain where the promoter negotiates with both the venue
management and with musicians. The main focus here is on the physical place that a
music venue provides and cooperative links that are involved in the production of live
music events, with the aim to highlight the circumstances that make a music club a
unique place. The case study is based on an anonymized small English jazz venue, which
provides detailed insight into the negotiations between the promoter, the manager, the
audience and the musicians within Britain. Finally, I argue that existing models of live
music promotion do not work for all local, small-scale promoters, due to the promoter’s
multiple and, at times, incompatible roles. As a marginal music culture, the jazz world
intends to evade the commercial genres; I therefore offer an alternative model that
involves full interaction between a small number of parties only.

Celem artykułu jest identyfikacja kluczowych przesłanek dla uznania wydarzeń biznesowych jako atrakcyjnych produktów współczesnych obiektów sportowych. Dla osiągnięcia celu pracy zastosowano metody analizy i syntezy, głównie z wykorzystaniem źródeł wtórnych, z dostępnych raportów instytucji krajowych i zagranicznych oraz informacji zawartych w ofertach wybranych stadionów. Badania autora wskazują na kilka czynników przemawiających za dużym znaczeniem wydarzeń biznesowych jako produktów uzupełniających ofertę współczesnych stadionów i oddziałujących na różne aspekty funk- cjonowania oraz rozwoju tych obiektów i regionu. Badanie i wnioskowanie koncentruje się na stosunkowo nowych, wielkich, znanych i wielofunkcyjnych obiektach sportowych. Tematyka zastosowania wydarzeń biznesowych w róż- nych obiektach spotkań w Polsce jest przedmiotem wielu publikacji, jednak próby pokazywania ich jako uzupełniającego produktu stadionów są jeszcze rzadko spotykane i wymagają ich dalszych badań. Artykuł ma charakter przeglądowy, a zarazem prezentuje pewną koncepcje teoretyczną możliwości rozwoju produktu współczesnych stadionów.

İstanbul’un ’en yeşil’ bölgesi Belgrad Ormanı’ndaki Mehmet Akif Ersoy Korusu, İstanbul Festival Vadisi (İFV) olarak düzenleniyor. Asırlık orman arazisinde ’yeryüzüne saygılıyız’ ilkesini benimseyen İstanbul Festival Vadisi, sezon boyunca konser ve festivallere evsahipliği yapacak.
Röportaj: Mustafa Küçük

Over the years, IASPM has actively branched out from an Anglo-American perspective to both international and transnational conferences and collaborations. This is well illustrated by IASPM Journal, now in its sixth year of publication. In this issue, Isabelle Marc follows shifts and changes of ‘travelling music’, Inhwa So investigates Korean cultural dynamics through gugak girl group MIJI, Stephen Wilford assesses the political legacies of Algerian musicians ‘cheb Hasni’ Chakroun and Lounès Matoub, while Elina Hytönen-Ng offers a new model in understanding the multiple roles of a small jazz venue promoter in the UK. Plus nine book reviews that further underpin the wide reach of popular music studies.

Classical saxophone music in Australia is a vibrant and rapidly developing musical genre with live performances of classical saxophone music in Australia on the rise. With higher numbers of specialist artists in the field and increasing numbers of new compositions, there is a need for further academic research that explores the practices of this unique musical genre. This paper is an introduction into a larger research project into classical saxophone performance in Australia, and a discussion around the multitude of organisational and logistical questions surrounding music performance. A literature review, combined with semi-structured interviews with leading Australian classical saxophonists, provides insight into the network of classical saxophone music in Australia. Through both the literature and interviews, a theoretical framework has been developed which aims to unpack the complex web of issues surrounding live musical performance in today’s social and economic climate. The important connections between theory and practice within live musical performance are pertinent to the continuing development of classical saxophone music within today’s vast musical landscape.