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Syfte och Forskningsfrågor Syftet med uppsatsen är att skapa förståelse för hur relationen och rollfördelningen mellan managers och artister kan se ut och vad som påverkar detta, samt hur manageryrket har påverkats av den förändring som skett i musikbranschen i och med den tekniska utvecklingen. För att nå upp till detta syfte har vi arbetat med tre forskningsfrågor: Vilka roller och vilken arbetsfördelning finns mellan managers och artister? Hur ser managers relationer till deras artister ut och vad påverkar detta? Hur påverkar nya förutsättningar managerns roll och relation till artister? Metod Vår forskning har haft en induktiv ansats då vi ville utgå ifrån empirin och låta de intervjuades berättelser styra uppsatsens riktning. Vi valde en kvalitativ metod då vi ville få en bild av hur våra intervjupersoner själva upplevde sina roller och relationer. Vår empiriska studie består av intervjuer med 6 managers och 4 artister. Slutsatser Vi har genom vår analys och slutdiskussion sett att roller, arbetsfördelning och relationer mellan managers och artister kan se väldigt olika ut från fall till fall. I grunden anses att artisten ska ansvara för de kreativa delarna och managern för de affärsmässiga delarna av artistskapet. Det är dock vanligt att parterna lägger sig i och vill vara involverade i varandras arbete. Vi har också upptäckt att det ofta är svårt att skilja mellan vad som är kreativt och vad som är affärsmässigt. Managers ser sig ofta som både anställda, säljare, samarbetspartners och en extra bandmedlem samtidigt. Relationen mellan managers och artister är ofta både personlig och professionell, och vilken del som upplevs som viktigast påverkas bland annat av hur parterna ser på sina roller gentemot varandra. Tillit är avgörande för en fungerande relation oavsett hur personlig eller professionell relationen är. De nya förutsättningarna i musikbranschen har inte minskat managerns uppgift, men däremot förändrat den. Bland annat krävs det idag att managern har kunskaper inom fler områden än tidigare. / The purpose of this paper is to increase the understanding for the different roles, division of work and the relationships between artists and music managers and what factors that may affect it, as well as what influence the new technological changes within the music industry have on the music managers’ work. The study is based on interviews with six artist managers and four artists. We can draw the conclusion that roles, division of work and the relationships between artists and music managers may look very different from one case to another. Basically, both artists and managers believe that the creative parts should be the artists’ responsibility while the business parts should be the managers’ responsibility. However, we have found that it is common that both actors want to participate in the other’s work and that is often is difficult to separate the creative tasks from the business tasks. The relationship between artists and music managers is often both personal and professional. However, trust is always important. The changes in the music industry have not reduced the importance of the music manager, but might have changed the roles and tasks that the manager will have to face.

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The Great Recession dramatically reframed the debate on funding for the arts from a social one to a fiscal one. Instead of social ideology, economics came to the forefront; and fiscal conservatives replaced social conservatives as the loudest voice criticizing government funding for the arts. Under the shadow of an expanding government and staggering national debt, both supporters and critics argue in terms of the economic costs and benefits that the arts impose. These arguments against public funding for the arts are multi-tiered. Critics contend that the government arts agencies are ineffective, that federal arts funding is inefficient, and that government funding as a whole is an unjustified overreach of government. Fiscal conservatives also argue that private philanthropy is sufficient to sustain the arts independently without government involvement. But because public and private funding for the arts respond to recessionary impacts so differently and decreases in private philanthropy impact the arts disproportionately, public arts funding is absolutely justified on an economic basis. With the inclusion of social and political considerations, however, the final conclusion is that neither private nor public funding can or should independently provide a complete solution to the issue.

This study of the single artists museums using the Clyfford Still Museum in Denver, Colorado and the Georgia O'Keeffe Museum in Santa Fe, New Mexico aims to compare these institutions to each other in terms of organizational practice and design as well as to the broader museum industry.

Leadership is often ascribed as a quality one either possess or doesn’t. We often hear phrases like “She is born leader” or “All eyes are on you”, these are thrown around without discretion in the classroom, conference rooms, social gatherings, and business meetings. This work contends that leadership and in particular leadership that grows and transforms its participants is less an inherent character trait, than an outlook and set of core principles that lead to transformation. Through the application of current and developing business leadership theory and its effect on creativity and a cross analysis of “Best in Class” theatre directors and choreographers that I have worked with, I intend to show that the surest way to a theatrically innovative and engaging production is through a dedication to collaboration, selflessness, and directorial clarity.

Doctor of Philosophy / Curriculum and Instruction / Jana R. Fallin / Various challenges face rural areas when providing programs similar to those offered by their suburban counterparts. It is difficult for rural areas to provide experiences that larger urban and metropolitan areas can offer. Cooperation is vital to developing arts programming in rural areas. Development and Perceptions of Rural Arts Experiences: A Case Study of the Marshall County Arts Cooperative (MCAC) represents a unique setting where students, teachers and community members were given opportunities to collaborate for the common good of all participants. On September 2nd, 2005 a two-year plan was approved to make a Community Arts Program a reality and operational in all parts of Marshall County, Kansas. Under the guidance of Kansas State University Music Education Department, the researcher developed and studied the Marshall County Arts Cooperative (MCAC). Perceptions of Marshall County students, parents, educators and community members were analyzed. MCAC programs worked in continued cooperation with area public and private schools and eleven arts organizations within Marshall County. The plan provides for the documentation of the project with a completed doctoral dissertation entitled: Development and Perceptions of Rural Arts Experiences: A Case Study of MCAC. The research design is framed into four main categories: (1) MCAC Development, (2) Rural Locale Codes, (3) Arts Experiences and (4) Perceptions of MCAC. A diverse collection of samples include, direct and indirect observation, interviews, documents, artist rosters and audio/video artifacts. Following a thorough analysis, emerging themes provide insight into the development and implementation of the MCAC. Results indicate that cooperation from a variety of people including staff, artists, students, educators and community members played a significant role in the success of MCAC and experiences created diversity in remote and isolated areas.

The Arts Council of New Orleans is the official arts agency of New Orleans, located at 935 Gravier Street. The organization supports and develops the arts community through many different programming initiatives, including administering grants, managing a monthly Arts Market, and providing business training to artists. In this internship report, I discuss my role within the organization during my internship, which began in January 2013 and lasted through June 2013. I then analyze my observations of the organization’s strengths, weaknesses, opportunities and threats, and provide recommendations for improving the Arts Council’s operations based on best practices and expert literature in the field of nonprofit management. The Arts Council hired a new CEO in May of 2013, after a seven-year period of operating under interim management. With a permanent leader now in place, the organization is in a position to apply my recommendations so it can grow into a stronger arts agency, and better serve the New Orleans community.

The following internship report is an overview of the Contemporary Arts Center (CAC). As a requirement of the Arts Administration Graduate Program at the University of New Orleans, I completed a 480-hour internship spanning three months in the center’s development and membership department. This report combines observational research with the knowledge gained from my studies and subjective research to provide an analysis of the CAC’s current position, strengths, weaknesses, opportunities, and threats, and provides recommendations on how the center can address specific issues with operations and financial management in order to grow as an organization in the future.

This report accounts my time spent as an intern with French Quarter Festivals, Inc. from March 2013 through August 2014. FQFI, a nonprofit 501(c)(3) organization in New Orleans, Louisiana, began with French Quarter Festival in 1984 and now produces three festivals each year. This paper seeks to discuss how the organization has changed over time, examine the structure of FQFI in its current state, and make recommendations for FQFI as they continue to “promote the Vieux Carré and the City of New Orleans through high quality special events and activities that showcase the culture and heritage of this unique city, contribute to the economic well being of the community, and instill increased pride in the people of New Orleans.”