Drew McManus on the Orchestra business | est. 2003

Artistic Administration

An Eight Year Legal Dispute Finally Resolves

Mon, May 5, 2017
by Drew McManus
Adaptistration People 125
It isn’t often we get to revisit a topic more than eight years later but it looks like the long running legal dispute between composer Nathan Currier and the now defunct Brooklyn Philharmonic is finally resolved. When we last examined the dispute in 4/14/2009, we discovered a debacle of a new music commission project that ended
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Updated Data For The Dead White Guy Programming Table

Mon, Apr 4, 2017
by Drew McManus
Adaptistration People 164
Over the weekend, composer and arts administrator Rob Deemer sent along the latest update to his list of programming data for the 2017/18 season and the ratio of works (both percent and number) of dead-white-guys to living, women, and non-white composers. The latest figures includes an update for the Los Angeles Chamber Orchestra figures. See
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Poll: How Important Is Diversity To Programming

Tue, Apr 4, 2017
by Drew McManus
Adaptistration People 003
Yesterday’s post examining the ratio of programming between living/deceased, male/female, and ethnicity for the 2017/18 season has generated a good deal of discussion throughout social media. Consequently, I’m curious to know what readers think when it comes to diversity in programming. In order to help keep things straightforward, please consider the questions within the context
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How Many Dead White Guys Does It Take To Program A Season?

Mon, Apr 4, 2017
by Drew McManus
Adaptistration People 186
Hot off the heels of his Women Composer Database Project, composer and arts administrator Rob Deemer has been pouring through much of the recently released programming data for the 2017/18 season to see how often US orchestras are programming works from composers who aren’t dead, white, or male. I have been concerned for years about
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Taking Another Look At Individual Musician Instrument Costs

Mon, Mar 3, 2017
by Drew McManus
Adaptistration People 120
Recently, my wife, Holly Mulcahy, wrote an article for violinist.com that chronicles her recent work preparing for the concertmaster solo in Mahler’s 4th Symphony. What makes the solo unusual is it requires the concertmaster to prepare an additional violin tuned higher than the instrument’s regular tuning and use that in addition to his/her regular instrument.
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Adaptistration by Drew McManus LLC is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International.
Permissions beyond the scope of this license may be available at https://adaptistration.com/about/terms-of-use-and-permissions/.

PROFESSIONAL DISCLOSURE

Given the author’s position as an arts consultant and technology provider, he does not publish articles examining or focusing on current clients without first obtaining the client’s written permission.

EDITORIAL COMMITMENT

In order to ensure accuracy and provide a comprehensive perspective on any topic, I allow any individual or person officially representing an organization that appears in any Adaptistration article to submit a response which will be published, unedited. Responses are limited to 200 words and must address the issues at hand and the individuals and/or organizations must also be willing to maintain an open dialog for continued discussion.