ABSTRACT
This chapter presents rhetoric concepts, principles, and terms for the evaluation of communication in music production and stage arts.
The author then presents a project model with references to the antique rhetorical model for recognised work processes in concert production. It is also related to modern models for value chains (see Chapters 5–7). The analysis executed with the project model is essential for assessing the individual prerequisites, opportunities, and concrete challenges accompanying most stage productions. The analysis applies to goals, value-based content, organisation, and potential ensembles and specific projects.
In addition, the chapter includes an overview of the main competence fields needed to organise stage performances: Administratively, performing, and creatively, design, and necessary technical personnel.
The previous chapter introduced a linguistic approach to music and pointed out the conditioned cultural functions for stage performances in different societies. Chapter 2 refers to essential terms and principles for supporting this holistic understanding of music, i.e. music as “intentional communication” at defined social events. Key terms explored are Musicking presented by Small; Ngoma and Shikia, presented by Bjørkvold; and a multi-way dynamic communication model.
