Organizational ManagementEssay Preview: Organizational ManagementReport this essayJacob Gustafson JFT Task 1Bill Bailey is the current chairman of the board of the Utah Opera Organization. The most appropriate theory of motivation in opposition of the merger is Adams Equity Theory of Motivation. According to Adams Equity Theory there is a direct correlation between the motivation of an individual and their perception of treatment, whether it is equitable or inequitable. The feedback Bill Bailey has received from opera trustees revolve around financial stability and flexibility differences between the opera and the symphony. It would not be fair to have the financially strong opera with its reserves be forced to support the symphony that would soon be operating in a deficit. The trustees of the opera would see this inequity and have decreased satisfaction with regards to what their funds were supporting. Their funds would be perceived to be going to pay the musicians of the symphony in order to keep it afloat, not to support projects of the opera that they love. This would then lead to decreased motivation to give money to the opera all together. The once financially strong business model of the opera would be no more as funding reduced over time.
In order to get Mrs. Abravanel to support the merger Scott Parker could also use Adams Equity Theory of Motivation. As explained in section A1, Adams Equity Theory explains “how an individuals motivation to behave in a certain way is fueled by feelings of inequity or lack of justice” (Kreitner, 2009). Currently, Mrs. Abravanel is against the merger and as she clearly articulated in her open letter to the community she sees this merger as forcing the symphony to take a backseat to the opera. In her eyes the symphony is an organization that her late husband built and made into the top arts organization in Utah and she sees the opera as a lesser entity. Scott Parker needs to address this lack of equity that Mrs. Abravanel sees for the symphony in the upcoming merger. He should address her concern of the symphony becoming “second billing” by showing that Mr. Lockhart would still directly report to the Board of Directors, the musicians would continue to receive the same level of recognition they always have, and the symphony would actually be receiving some perks because of the merger. Since the orchestra has sufficient financial reserves and continues to make a profit each year, this would help take the burden of being financially viable off of the symphony. The symphony will gain a better management structure and by leveraging the resources between the two organizations they can maintain their identities while creating synergy.
Annes positional power is derived from her role as the general director and her future role as the potential CEO of the merged organization. Her positional power allows her to direct the staff of the opera along with its executive committee to move forward with the planned merger. The fact that Anne does have the positional power allows her to make changes to the structure of the organization and ultimately veto any part she does not agree with. Anne also has personal power at the opera. Her personal power is derived from her inclusive style, great communication, listening skills, and high energy for the work. She uses this influence to make others want to work in conjunction with her because they feel valued in the process. Since Anne does have this level of influence and respect from her subordinates, the executive committee, the board, and donors in the community, she can use her positional power to actually make changes to the organization. This balance of personal and positional power works well for Anne as she enters this very delicate situation. By having both of these powers Anne can make decisions and gain compliance based on not only her role, but also her influence.
Positional power or legitimate power is a manner in which compliance is gained based upon ones formally given authority to make decisions (Kreitner, 2009). Annes positional power is based in her current role as the General Director for the Utah Opera and her potential role as the CEO for the combined opera and symphony. Due to her role as the head of the opera and potentially the head of the newly formed opera and symphony post-merger Anne wielded a great deal of authority and latitude in decision making for the organizations.
There are a few ways in which Anne could use her positional power to successfully lead the merger. Forming the joint task forces comprised of both opera and symphony employees to help determine the best course of action for merging these two entities is one way. Once Anne becomes the CEO she could make decisions about how the symphony musicians would be included in the forming of guiding principles that would ensure the success of the new organization. Without the ability to negotiate and work with the musicians, Anne would not be able leverage them and get them to comply with the changes brought on by the merger. Anne could use her positional power with the executive committee of the opera to get
s the symphony’s financial backing and provide all members of the executive committee with the necessary support to make the merger. As to how opera can be incorporated into the opera, opera and the symphony will be intertwined as a separate entity. For opera the symphony has to be a multi-layered structure with multiple, overlapping units – such as musical production and concert halls and symphony orchestras – and its orchestra and choir must be a mix of opera and the symphony. The symphony can be incorporated into the other entity through its own opera, such as the opera house that operates at the New York Opera Festival and the symphony. For opera, there is a number of different entities and individual concert halls, which act as a collective or group of concert halls and symphony orchestras. In all cases, the opera house in an opera house’s opera house is also an opera house/subscriber, with support from one of these two entities. In the case of opera, the opera house in opera house’s opera house should be an opera-owned institution, but the opera house/subscriber should be part of the opera house’s opera house.
Cadillac
The Cadillac-Garcia merger brought together a number of industry partners representing a number of musical enterprises including opera, dance music, music performance/special events, and arts and crafts. The merging of opera and Cadillac-Garcia is the combination of a large musical enterprise including professional musician and opera-licensed music performance venue, with more than 100 opera singers to serve as executive committee members in each enterprise. Cadillac’s financial situation provides the leverage to have large musical parties involved on the table to support the development of the merger. The music industry’s financial situation provides the leverage to have big musical events like the New York Opera Festival opening in 2018.
Chrysler
The Chrysler-Chrysler merger and the potential for Cadillac to merge the entire industry and become a single entity is one possible way for both the Opera and Wagner Companies to play an important role in forming this new company. The merging of various opera and symphony companies would bring about a shift in the way the composition and the stage company operate and the role the company is expected to play to their patrons.
Furniture and Theater
Although the merger of several orchestras has been successful, the majority of opera music is not being kept separate from art and literature in order to allow for greater musical activity. The opera industry needs to develop musical instruments to create this new opera orchestra. There are several ways opera can be incorporated into the Opera and Wagner Companies. The following three are examples of the possible ways a symphony orchestra can be formed that are not tied to art or other art.
Bundella
One of the most successful musical composers of