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Poslovni Vidiki Delovanja Samozaposlenih Pianistov

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Poslovni Vidiki Delovanja Samozaposlenih Pianistov UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE mag. Tamara Goličnik Poslovni vidiki delovanja samozaposlenih pianistov Doktorska disertacija Ljubljana, 2015 UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE mag. Tamara Goličnik Mentor: izr. prof. dr. Neven Borak Poslovni vidiki delovanja samozaposlenih pianistov Doktorska disertacija Ljubljana, 2015 Povzetek Poslovni vidiki delovanja samozaposlenih pianistov V nalogi na podlagi uporabljene literature o podjetništvu in menedžmentu, lastnih izkušenj ter empirične raziskave proučujem poslovne vidike delovanja samozaposlenih pianistov. Namen naloge je preučitev pogojev in načina delovanja samozaposlenega pianista, da bi se lahko določili ključni dejavniki uspešnosti, ki so osnova modela za načrtovanje in spremljanje pos- lovnih strategij ter ugotavljanje uspešnosti poslovanja. Oblikovanje poslovnega načrta in pos- tavitev modela BSC za samozaposlenega pianista je bil glavni cilj naloge. V pregledani relevantni literaturi nisem zasledila vseh poslovnih vidikov delovanja samoza- poslenih glasbenikov – pianistov, zato sem se oprla na vire, ki obravnavajo principe delovanja umetniških organizacij. Narava pianistove dejavnosti je umetniška in na nek način sorodna dejavnosti umetniških organizacij, zlasti ko gre za storitev – koncert, zato se lahko nekateri principi delovanja s področja trženja, odnosov z javnostmi, financiranja in inoviranja smiselno uporabijo tudi za samozaposlenega pianista. V nalogi privzemam tudi stališče, da je v organi- zacijskem smislu samozaposleni pianist mikro-podjetnik in se opiram na ekonomske vidike delovanja podjetnikov. Glasbenike motivira v veliki meri želja po neodvisnosti, poleg tega pa tudi realizacija ideje in specifično delo. Nekateri avtorji jih opredeljujejo kot kulturne podjet- nike, ki so odkrili in ovrednotili priložnosti na umetniškem trgu ter ustanovili (mikro) podjetja, da bi te priložnosti uresničili. V disertaciji torej izhajam iz tega, da je pianist mikro-podjetnik, ki sam prevzame vse naloge vodenja svoje dejavnosti, zlasti na začetku samostojnega delova- nja. Glede na naravo vsebine in problema raziskave sem izbrala kvalitativni pristop. Strategija raziskovanja je fenomenološka študija primera, v kateri preučujem poslovne vidike delovanja samozaposlenega pianista. Z deduktivnim raziskovalnim pristopom sem preučila obstoječo literaturo o delovanju podjetnika in kulturnega oz. umetniškega sektorja, kar mi je olajšalo oblikovanje izhodiščnega modela raziskave ter omogočilo integracijo spoznanj v okvir obsto- ječega znanja. S sekundarno analizo ali analizo gradiv sem poslovne vidike delovanja pianis- tov poskušala določiti z induktivnim pristopom. Analiza je bila usmerjena na manjše število pianistov, na Mozarta, Beethovna, Liszta, Rubin- steina, Buchbinderja in Langa. Za merjenje problema sem zbirala podatke o njihovem izva- janju poslovnih nalog na področju inoviranja, trženja in financiranja v dejanskem družbeno- ekonomskem okolju. Pri posameznem pianistu sem preučila dve obdobji, in sicer deset let pred samozaposlitvijo in prvih deset let v samozaposlitvi. Tako sem se odločila zato, ker je narava pianistovega dela drugačna kot narava dela podjetnika, ki deluje v gospodarski dejav- nosti. Pianist že zelo zgodaj oblikuje svojo vizijo in mreže in »izvaja dejavnost«, ko se redno izobražuje in udeležuje mojstrskih tečajev, se udeležuje tekmovanj in javno nastopa. S samo- zaposlitvijo gradi svoj ugled in prepoznavnost ter se uveljavlja na trgu. To je dolgotrajen pro- ces, zato sem ga preučevala v daljšem obdobju. Za zbiranje in analizo podatkov o delovanju pianistov v preteklosti sem uporabila zgodovin- sko-biografsko in zgodovinsko-primerjalno metodo. Podatke sem pridobila predvsem s preu- čevanjem ustrezne literature in drugih pisnih virov o posameznih pianistih in dogodkih, ki so vplivali na njihovo delovanje, s preučevanjem dokumentov – pisem, pogodb, biografij in štu- dij njihovih sodobnikov ter kasnejših avtorjev. Uporabila sem tudi sekundarne podatke, ki so v spletnih virih. Od sodobnih pianistov sem preučevala tiste, za katere sem ocenila, da so uspešni, in da je o njih dovolj virov. Podatke sem primerjala in diferencirala, da sem ugotovila, kakšno je bilo/je poslovanje uspešnih samostojnih pianistov. S kvalitativno analizo vsebine, ki je pomembna pri analizi besedil, časopisnih člankov, poročil, govorov, pogovorov itd., sem vrednotila poslovne vidike njihovega delovanja. Z analizo sem ugotovila, da pianistov cilj ni maksimiranje dobička, zato je njegova uspešnost vezana na uresničevanje vizije in poslanstva, ki ga zavezuje k služenju umetnosti in s tem ljudem, medtem ko je njegova vizija na svojski način postati časten, slaven, priznan in ugle- den umetnik. Z izvirnostjo v oblikovanju in ponujanju produkta − koncerta uresničuje svojo vizijo. Uspešni pianisti so v svojem delovanju ves čas inovativni. Inovacije so v največji meri glasbeno-estetske, nanašajo se na oblikovanje interpretacij že znanih del in so pomembne za oblikovanje profesionalnega stila. Odkar pianisti delujejo predvsem kot profesionalni inter- preti, morajo odkriti inovativne izvedbe starih znanih del, da bi presegli pričakovanja glasbe- nih strokovnjakov, organizatorjev koncertov, občinstva in financerjev. Ker lahko kljub zves- tobi skladatelju izvajajo delo na svojstven način, so originalni in inovativni. Tehnološke ino- vacije v izdelovanju klavirjev in v snemalnih in računalniških tehnologijah, ki pianista spod- bujajo k poglobljenemu delu in iskanju perfekcije, h glasbeno-estetskim novostim ter prispe- vajo k njegovi promociji, pa tudi inovacije pri vzpostavljanju odnosov s strankami in s finan- cerji, so pomembne, vendar so najpomembnejše prave inovacije, produktne oziroma glasbe- no-estetske, z njimi pianist gradi svoj imidž, ki je ključni dejavnik uspešnega trženja. Analiza je potrdila, da so v glasbi pomembni in uspešni izstopajoči posamezniki, ki na sposo- bnostih in osebnih značilnostih gradijo svoj ugled. Če so te lastnosti in sposobnosti poudarje- ne in medijsko razširjene, določajo pomembno glasbeno osebnost. Pozornost je usmerjena na interpretacijo in pianista kot osebo, njegova zunanja podoba ni tako pomembna, saj pianist noče izstopati, zato je njegov profesionalni stil njegov delovni slog, ki izvira iz njegove oseb- nosti, najpomembnejša komponenta njegovega imidža. Preučevani pianisti so/so bili v poro- čanju in s strani publike deležni veliko pozornosti in občudovanja. Čeprav delujejo/so delovali v različnih družbenih okvirih, so izbirali podobne strategije za uspešno trženje, vseskozi pa so skrbeli za svoj imidž. S strategijo tržnega prodora − z delovanjem v pomembnih glasbenih središčih in nastopanjem na prestižnih lokacijah, se pianist pozicionira na trgu. Za sam vstop na trg je bilo v preteklosti pomembno, da je bil proglašen za čudežnega otroka oz. velik glasbeni talent, sodobnim piani- stom pa pomeni vstopnico na trg zmaga na pomembnejšem tekmovanju. Tekmovanje kot kon- fliktna strategija v odnosu do konkurence je bilo že v preteklosti pomemben način pridobivan- ja ugleda in priznanja glasbene stroke in javnosti, danes pa je zmaga na tekmovanju ključni dejavnik vstopa in pozicioniranja na trgu. Pianisti s premišljenim izborom »kaj igrati«, »kako igrati« in »komu igrati« razvijajo trg. Razvoj trga in razvoj produktov sta običajni strategiji za pozicioniranje na obstoječih ali novih trgih, pianist pa pogosto ohranja publiko tudi s prilaga- janjem njenim trenutnim željam, čeprav s tem ne sledi povsem svoji viziji in poslanstvu. Ker so glavni cilji vsakega pianista umetniška kvaliteta, ugled in prepoznavnost, so vse omenjene strategije hkrati tudi strategije diferenciacije, s katerimi pianist dosega trajnejšo konkurenčno prednost in finančni uspeh. Ena najtežjih nalog samozaposlenega pianista – začetnika so vprašanja, povezana s financira- njem in ekonomiko: koliko in kje pridobivati prihodke, kako obvladovati stroške in zagotav- ljati likvidnost, kako si ustvariti prihranke. Prihodke, ustvarjene na trgu, predstavljajo hono- rarji za nastope, prihodki od poučevanja in nagrade na tekmovanjih. Ko se pianist šele uvelja- vlja, so prihodki praviloma nižji in neredni, zato išče dodatne vire financiranja. Lahko zaprosi za sredstva pri fundacijah, sponzorjih in donatorjih, ali kandidira za javna sredstva. Vsak vir ima lastno logiko in sledi svojim pravilom. Ugotoviti mora, katera sfera mu v določenem tre- nutku najbolj ustreza, zato je ugodno, če je na voljo čim več virov in če pianist ni kreativen samo v glasbi, ampak tudi v pridobivanju finančnih virov. Kreativnost se izraža predvsem v tem, kako pristopa k potencialnim financerjem in kakšno podjetniško mrežo gradi. Za preuče- vanje pianistovih podjetniških mrež sem uporabila tudi analitična orodja, ki jih omogoča pro- gram UCINET 6 for Windows. Ugotovitve raziskave so predstavljene po posameznih podjet- niških mrežah izbranih pianistov. Izkazalo se je, da je pri pianistu močno izražena mreža za moralno podporo, v kateri starše in učitelje običajno nadomestijo zakonski partnerji, prijatelji ali posamezni člani formalne podmreže. Zelo pomembne so tudi pianistove povezave s finan- čnimi in materialnimi podporniki. V začetnih fazah delovanja so mreže multipleksne, ker pogosto en član mreže nudi več vrst podpore. Z diagrami je predstavljena struktura mrež, v tabelah pa so podane koristi, ki so jih posamezni pianisti imeli od članov mrež. Zadnja faza kvalitativne analize je interpretacija, v kateri sem iz zbranih, urejenih in analizi- ranih podatkov oblikovala ugotovitve raziskave. Analiza in interpretacija
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