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<p> When Robert Spano joined the Atlanta Symphony Orchestra as music director in 2001, he brought with him a mission to change the soundscape of the American concert hall. His goal, to gradually change the public&rsquo;s perception of new music by introducing accessible works of lesser-known living American composers, led to sustained partnerships with the composers that came to be known as the Atlanta School. In this project I trace the formation of the Atlanta Symphony Orchestra up to Spano&rsquo;s appointment as Music Director. I then examine Spano&rsquo;s model for commissioning new works as both an effective means of disseminating new music and an attempt to &ldquo;plug into&rdquo; the standard repertoire. Finally, I explore the notion of &ldquo;accessibility&rdquo; as it emerged in the nineteenth century to distinguish between classes of music and to show how the term is wielded in much the same way today to keep modernist ideologies in control of the canon.</p>

<p> This thesis, presented in partial fulfillment of the requirements for the degree of Master of Business Administration/Master of Fine Arts in Theatre Management, identifies the antecedents of emotional attachment to the theatre industry and specific organizations. The five identified antecedents of theatre emotional attachment are: social bonding, audience co-creation of value, escapism, cannon of work, and organizational culture. These emotional attachments can be leveraged through marketing efforts to increase the lifetime value of a patron and raise the overall profitability of the theatre organization. </p>

<p> Ballet is a world of exquisite artistry and strong tradition that has evolved beyond its origins as an elite court dance of 17^th century France into a global art form reaching audiences throughout the world. Yet, to this day, ballet remains mostly white. This inequity is found not only on the stage, but in the ballet school, executive suite, and boardroom.</p><p> Racial inequity in ballet is born of a complex system of historical, social, and organizational issues, including: artistic tradition, racism, socioeconomics, cultural policy, education, funding, management, and governance. Because these issues are not independent but intersectional, they must be examined and addressed holistically.</p><p> By conducting surveys, interviews, and a thorough literature review, the author dissects the challenges ballet companies face in promoting racial equity and identifies strategies being implemented to address those challenges. The author posits that racial equity must come from the top of an organization, with leaders setting policy that leads actionable change. Simultaneously, there must be a bottom-up approach where access, education, and opportunity are given to rising dancers and leaders of color.</p><p> This paper is meant to be a working resource for all dance professionals seeking to promote racial equity in ballet.</p><p>

This dissertation presents an alternative understanding to current works exploring the creative class. Extant views of the creative class portray it as a concentration of individuals and organizations producing clusters of interconnected cultural activities fostering positive socioeconomic change in the communities where they are located. By contrast, this dissertation articulates the creative class as time evolving geographical organizing of networked creative individuals whose presence over time in a community may or may not foster positive socioeconomic change. The creative class is thus conceptualized as contingent and continuously evolving processes whose emergence at any one point in time may or may not be sustainable over time. Framed theoretically through a nexus between strategic management, economic geography, and economic sociology, the unfolding of a creative class is explored as location specific phenomenon illustrating mutually co-constructing processes of organizations and their environment. It focuses –as its exemplar- on local socioeconomic processes enacted by an assortment of artists and artisans in a small New England (USA) former mill town. A case study was derived from data collected for over four years in fieldwork through a multi-method approach. Underpinned by interpretative notions, methodology included participative ethnography and social network analyses, where quantitative and qualitative data functioned in a complementary way. Exploring relationships between artists and artisans and their organizing attempts to become members of the community, observations focused on mundane situations through which these processes were enacted. Social network methodologies contributed to mapping processual linkages between community members, while further ethnographic work contextualized relationships uncovered through social network analyses. The resulting case study presents a narrative about the unfolding of a potential creative class as dynamic bottom-up phenomenon whose socioeconomic consequences cannot be guaranteed by formal planning. Artists and artisans struggle to become a community of creative practice and become acknowledged as such by their neighbors when their organizing opens up socioeconomic change. These processes, which may lead to a sustainable cultural economy in this location, are not independent or exogenous to the place. They are part of the local history, influenced by shared and ongoing socioeconomic processes, and specific to locality.

<p> As the political and economic landscape of the United States shifts in coming years, American society&rsquo;s perception of the arts will likely change as well. Arts advocates must be ready to adapt their arguments for arts&rsquo; value to changing societal priorities. This paper summarizes the two leading frameworks for current arts advocacy arguments: extrinsic benefits and intrinsic benefits. The paper then introduces practical benefits, a pragmatic third framework for arts advocacy that focuses on skills gained through the creation of collaborative art that prepare participants for careers in the creative class, as defined by Richard Florida. The paper uses student-run theatre organizations on college campuses as incubators and case studies for these benefits, using original ethnographic research and surveys to develop assessment protocols for these benefits, with the intention of growing their applicability to larger and more varied arts organizations.</p>

There are several motivating and satisfying factors that affect volunteer retention. Organizations need to know what these factors are in order to make the volunteer’s role more satisfying and therefore improve rates of retention. The purpose of this phenomenological case study was to explore the motivation factors for volunteers in an art museum setting, in particular the individual motivations for remaining at an organization for a period of time not less than one year, using Herzberg’s Two-Factor Theory (Herzberg, Mausner, and Snyderman, 1959). The research includes an extensive literature review examining motivation theories, factors of retention and volunteering, and aspects of phenomenology. The population of this study consisted of 28 volunteers in one art museum, the Montgomery Museum of Fine Arts in Montgomery, Alabama. The museum represented an organization with an established and successful volunteer program. The participants were adults who were free-choice volunteers, or volunteers who were not required to provide service for any other reason other than their own choice. Data were collected through an online survey and in-person interviews. A statistical test with a chi-square was used to determine the relationship between volunteer retention and factors of motivation. The following factors were found to be significant in volunteer satisfaction and motivation: engagement and enrichment opportunities, a personal sense of doing something worthwhile, and enjoyment of the work itself. Of those factors, it was found that engagement and enrichment opportunities had the highest impact on volunteer retention. It was concluded that (1) there are several motivation factors for volunteers; (2) there is one motivation factor that also has a significant relationship with volunteer retention; and (3) volunteer motivation factors can also serve as factors for dissatisfaction and negatively impact retention. / A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2019. / February 18, 2019. / Administration, Art, Motivation, Museum, Retention, Volunteer / Includes bibliographical references. / Pat Villeneuve, Professor Directing Dissertation; Stacey Rutledge, University Representative; Jeff Broome, Committee Member; Ann Rowson Love, Committee Member.

<p> This thesis, presented in partial fulfillment of the requirements for the degree of Master of Business Administration/Master of Fine Arts in Theatre Management, investigates the business models used by performing arts festivals known as "fringe festivals." In the United States, there are three basic fringe festival models: the open access or Edinburgh model, the limited access model, and the adjudicated model. Interviews with artists who participated in fringes as producers reveal that the model impacts the participant experience less than the degree of scaffolding the fringe offers and the degree to which the fringe constrains producing choices. This thesis suggests a fringe festival framework, classifying fringes by degree of scaffolding and constraint, which can be used by producers to identify festival settings that will be the best fit for their needs. The framework can also be used by fringe festival organizers as a tool for self-reflection and festival assessment.</p>

<p> The purpose of this thesis is to explore how the contemporary art gallery model has been adapted in order to suit a post-2008 global recession marketplace. Using Culver City as a case study, I have analyzed how three local gallerists have changed their business practices made in response to a rapidly changing economic environment as well as the demands of the current "Knowledge Age" and also demonstrated how these adaptations follow from historical developments in American gallery culture. My findings suggest the degree to which socioeconomic changes inspired shifts within the design of the current gallery business model, which enabled galleries in Culver City to survive the most challenging economic recession of their time. Findings from this study can benefit future gallerists, collectors, artists, or historians engaging in the contemporary art marketplace.</p>

This study was undertaken to find out what problems the Administrative Operations Division was encountering in the absence of a job description plan. Many employees in the division were not aware of their actual job functions. They have only been giver a class description of their jobs by the Bureau of Personnel, which is not the actual job functions. They have only been given a class description of their jobs by the Bureau of Personnel, which is not the actual description that they are entitled to from the division in which they are employed. A class description is a stigmatization of general duties performed by employees assigned to that class. A detailed job description is a listing of the specific and everyday duties of an employee assigned to that poison The study found that this is indeed a problem in the Administrative Operations Division. This paper recommends that the problem be corrected by developing detailed job descriptions for each employee in the division, and specific recommendations are made toward that end.