Project Plan

Discuss about the Melbourne Global Music Festival for Adults and Youth.
 

The objective of the project of Melbourne global music festival entertainment international private lies in the following facts.

• To bring different indigenous music group together from various nations at Melbourne
• To promote the musical culture, appreciate musical cultures, share experiences from various communities.
• To assure that the project is done under schedule and budget with the risks being managed and tasks being monitored.
• To develop an event where the festival includes bands, adults and youth orchestras. 

Project Leader or Manager: ALPN Group 
Anticipated Project Start Date: 16th February 2018
Sponsors: Commonwealth Banks, Victoria community, Victoria Anticipated, Victoria multicultural society

 Project End Date: 25.5.18

This is demonstrated through the following table.

Figure 1: “Gantt Chart for the current project”

(Source: Created by Author)

The estimated budget for Melbourne global music festival is illustrated below.

An effective project communication plan and elaborate risk management are helpful to achieve the best quality from the current festival. Here, the performances can be analysed at every single stage. This must be on during planning and on the basis of deliverables and scopes ensuring every task. These are to be accomplished to various standards and have been including time and budget. For this Shewhart Cycle consisting of acting, checking, doing and planning can be used (Carrotte et al. 2016).

Here the pluralistic view of Saudi Arabia can be considered. This includes the stakeholders having investment and interest in events extending beyond the conventional idea of stakeholders (Gibson and Connell 2016). It has been already accepted in Arabia that the prior views of clients as one single entity has never been reflecting the reality of stakeholder configurations as per as maximum of the projects are considered.

This must be done effectively to harness the productive and creative energies of the project members to successfully finish the Global Music Festival (Huang et al. 2015). Here, the governance must be on the ground-stone of principles of project management with every staff engaged in the project, execution and planning along with risk assessment.

It is the strength of links within the overall goals of Global Music Festival and aims of every unit of the events. This is helpful to contribute to achieving every success of the overall aims (Hitchings, Browne and Jack 2018). The idea has been related closely related towards the strategic fit that has been present as drivers of a network of internal performances have been aligned and consistent with the financial outcomes and desired customers.

The plan of risk management has been identifying every potential risk and has been arising from holding that event. The steps of event organizers have been mitigating and reducing the recognized risks (Born and Haworth 2017). They have been indicating various things. As per as community of Melbourne is considered the risks lies in the following facts.

• Causing harm to others
• Causing harm to tools, infrastructures and event sites

Estimated Budget

These risks have been out of the control of event organizers. Here it has been vital that the risk management plan has been detailing who has been liable to coordinate the security of individuals. This must be done as the situation gets out of control of the organizers.

Hence the risk analysis must be including the following.

• Current risk at the site
• Risks created by the events
• Various external risks are under less control and are highly needed to be managed at the event.

The application and application of the skills and tools of project management to control the project has been starting with project inception, execution and management. In order to do this, there are various opportunities to come in contact with government officials. This is helpful to develop communication and interpersonal skills (Little, Burger and Croucher 2018). This has been particularly because of the religious, social and cultural differences with officials of Victorian governments. Thus the major opportunities in Melbourne Global Music Festival lie in the following facts.

• Improving and maintaining the standard of living of Melbourne
• To attract the worldwide tourism
• To promote multiculturalism for the upcoming years
• Generation of revenue

The survey to be conducted must include the following:

• The finding of the history of attending the festival from individuals
• Previous precaution measures as the people gets little messed up 

The most common feedbacks that are received already include the following:

• The organization has been excellent and having seamless delivery of entertainment.
• The Global music festival at Melbourne shows the future of the live scene with a quality line up.

The community music groups have been trying to fill the gap that has been present in mainstream music development and educational approaches. This uniqueness has been a part of prolonged community traditions. This must remove the notable gap between social inclusion at Melbourne and reality of activities in the sector of music education and various educational disadvantages. 

References:

Baker, A.J., 2016. Music scenes and self branding (Nashville and Austin). Journal of Popular Music Studies, 28(3), pp.334-355.

Born, G. and Haworth, C., 2017. Digital Ethnography and Online Research Methods—A Tale of Two Global Digital Music Genres. The Routledge Companion to Digital Ethnography, p.70.

Carrotte, E.R., Vella, A.M., Hellard, M.E. and Lim, M.S., 2016. Mental health and associated sexual health behaviours in a sample of young people attending a music festival in melbourne, victoria. Community mental health journal, 52(8), pp.1082-1088.

Gibson, C. and Connell, J., 2016. Music festivals and regional development in Australia. Routledge.

Griffin, C., Bengry-Howell, A., Riley, S., Morey, Y. and Szmigin, I., 2016. ‘We achieve the impossible’: Discourses of freedom and escape at music festivals and free parties. Journal of Consumer Culture, p.1469540516684187.

Hitchings, R., Browne, A. and Jack, T., 2018. Should there be more showers at the summer music festival? Studying the contextual dependence of resource consuming conventions and lessons for sustainable tourism. Journal of Sustainable Tourism, 26(3), pp.496-514.

Huang, F., Rose, S., Iwasaki, J., DerHovsepian, J., Taylor, B., Bax, A., Oswell, S. and Thompson, C., 2015. Mimir Chamber Music Festival, June 29-July 10, 2015 (Fort Worth, Texas) and August 31-September 7, 2015 (Melbourne).

Little, N., Burger, B. and Croucher, S.M., 2018. EDM and Ecstasy: the lived experiences of electronic dance music festival attendees. Journal of New Music Research, 47(1), pp.78-95.

Nguyen, A.A.T., 2016. Analysing depictions of carnival in Robert Schumann’s papillons, Op. 2.

St John, G., 2015. Protestival: Global days of action and carnivalized politics at the turn of the millennium1. The Pop Festival: History, Music, Media, Culture, p.129.