Face the unique challenges of the cultural sector and become a visionary and strategic leader thanks to this Advanced master’s degree in Senior Management of Cultural Sector Companies"

Why Study at TECH?

TECH is the world's largest 100% online business school. It is an elite business school, with a model based on the highest academic standards. A world-class center for intensive managerial skills education.   

TECH is a university at the forefront of technology, and puts all its resources at the student's disposal to help them achieve entrepreneurial success”

At TECH Global University

Innovation

The university offers an online learning model that balances the latest educational technology with the most rigorous teaching methods. A unique method with the highest international recognition that will provide students with the keys to develop in a rapidly-evolving world, where innovation must be every entrepreneur’s focus.

Microsoft Europe Success Story", for integrating the innovative, interactive multi-video system.  

The Highest Standards

Admissions criteria at TECH are not economic. Students don't need to make a large investment to study at this university. However, in order to obtain a qualification from TECH, the student's intelligence and ability will be tested to their limits. The institution's academic standards are exceptionally high...  

95% of TECH students successfully complete their studies.

Networking

Professionals from countries all over the world attend TECH, allowing students to establish a large network of contacts that may prove useful to them in the future.  

+100.000 executives prepared each year, +200 different nationalities.

Empowerment

Students will grow hand in hand with the best companies and highly regarded and influential professionals.TECH has developed strategic partnerships and a valuable network of contacts with major economic players in 7 continents. 

+500 collaborative agreements with leading companies.

Talent

This program is a unique initiative to allow students to showcase their talent in the business world. An opportunity that will allow them to voice their concerns and share their business vision. 

After completing this program, TECH helps students show the world their talent.

Multicultural Context

While studying at TECH, students will enjoy a unique experience. Study in a multicultural context. In a program with a global vision, through which students can learn about the operating methods in different parts of the world, and gather the latest information that best adapts to their business idea. 

TECH students represent more than 200 different nationalities.   

Learn with the best

In the classroom, TECH’s teaching staff discuss how they have achieved success in their companies, working in a real, lively, and dynamic context. Teachers who are fully committed to offering a quality specialization that will allow students to advance in their career and stand out in the business world. 

Teachers representing 20 different nationalities.

TECH strives for excellence and, to this end, boasts a series of characteristics that make this university unique:

Analysis

TECH explores the student’s critical side, their ability to question things, their problem-solving skills, as well as their interpersonal skills.    

Academic Excellence

TECH offers students the best online learning methodology. The university combines the Relearning method (postgraduate learning methodology with the best international valuation) with the Case Study. Tradition and vanguard in a difficult balance, and in the context of the most demanding educational itinerary. 

Economy of Scale

TECH is the world’s largest online university. It currently boasts a portfolio of more than 10,000 university postgraduate programs. And in today's new economy, volume + technology = a ground-breaking price. This way, TECH ensures that studying is not as expensive for students as it would be at another university.   

At TECH, you will have access to the most rigorous and up-to-date case analyses in academia”

This program focuses on the development of management skills and an understanding of the cultural and creative environment in which companies in the sector operate. Students will have access to a variety of business management tools and techniques, from finance and strategy to marketing and leadership. All this over the 24 months of the Advanced master’s degree. 

You will have access to cutting-edge business management tools and techniques to help propel your business or cultural project to success"

Syllabus

The Advanced master’s degree in Senior Management of Cultural Sector Companies at TECH Global University is an intensive program that prepares students to face business challenges and decisions at both national and international levels. Its content is designed to promote the development of managerial skills that enable more rigorous decision-making in uncertain environments.

Throughout 3,000 hours of study, students will analyze a multitude of practical cases through individual work, achieving high quality learning that can be applied to their daily practice. It is, therefore, an authentic immersion in real business situations. 

This program deals in depth with the main areas of cultural companies from a strategic, international and innovative perspective.   

A plan designed for students, focused on their professional improvement and that prepares them to achieve excellence in the field of cultural business management. A program that understands your needs and those of your company through innovative content based on the latest trends, and supported by the best educational methodology and an exceptional faculty, which will give them the skills to solve critical situations in a creative and efficient way.

This program takes place over 24 months and is divided into 18 modules:  

Module 1 Leadership, Ethics, and CSR
Module 2 Strategic Management and Executive Management 
Module 3 People and Talent Management 
Module 4 Economic and Financial Management 
Module 5 Operations and Logistics Management 
Module 6 Information Systems Management 
Module 7 Commercial Management, Marketing, and Corporate Communication 
Module 8 Marketing in Cultural Market 
Module 9 Innovation and Project Management 
Module 10 Production and Direction in Cultural Management 
Module 11 Cultural Heritage Conservation
Module 12 Management of Museums, Art Galleries and Exhibitions 
Module 13 Cultural Documentation: Cataloging and Research 
Module 14 Cultural Management of Music and Dance 
Module 15 Cultural Tourism Management 
Module 16 Technology and Design for Cultural Promotion 
Module 17 Design of Cultural Events
Module 18 Planning of Cultural Events

Where, When and How is it Taught?

TECH offers you the possibility of taking this program completely online. Throughout the 24 months of training, you will be able to access all the contents of this program at any time, allowing you to self-manage your study time.

Module 1. Leadership, Ethics, and CSR. 

1.1. Globalization and Governance 

1.1.1. Globalization and Trends: Market Internationalization 
1.1.2. Economic Environment and Corporate Governance  
1.1.3. Accountability 

1.2. Leadership

1.2.1. Intercultural Environment 
1.2.2. Leadership and Business Management 
1.2.3. Management Roles and Responsibilities 

1.3. Business ethics 

1.3.1. Ethics and Integrity 
1.3.2. Ethical Behavior in Companies 
1.3.3. Deontology, Codes of Ethics and Codes of Conduct
1.3.4. Fraud and Corruption Prevention

1.4. Sustainability 

1.4.1. Business and Sustainable Development 
1.4.2. Social, Environmental, and Economic Impact

1.5. Corporate Social Responsibility 

1.5.1. Corporate Social Responsibility 
1.5.2. Roles and Responsibilities 
1.5.3. Implementing Corporate Social Responsibility 

Module 2. Strategic direction and executive management

2.1. Organizational Analysis and Design 

2.1.1. Organizational Culture 
2.1.2. Organisational analysis 
2.1.3. Designing the Organizational Structure 

2.2. Corporate Strategy

2.2.1. Corporate-Level Strategy 
2.2.2. Types of Corporate-Level Strategies. 
2.2.3. Determining the Corporate Strategy 
2.2.4. Corporate Strategy and Reputational Image 

2.3. Strategic Planning and Strategy Formulation 

2.3.1. Strategic Thinking 
2.3.2. Strategic Planning and Formulation 
2.3.3. Sustainability and Corporate Strategy 

2.4. Strategy Models and Patterns 

2.4.1. Wealth, Value, and Return on Investments  
2.4.2. Corporate Strategy: Methods 
2.4.3. Growing and Consolidating the Corporate Strategy 

2.5. Strategic Management 

2.5.1. Strategic Mission, Vision, and Values 
2.5.2. The Balanced Scorecard 
2.5.3. Analyzing, Monitoring, and Evaluating the Corporate Strategy 
2.5.4. Strategic Management and Reporting 

2.6. Implementing and Executing Strategy 

2.6.1. Strategic Implementation: Objectives, Actions and Impacts 
2.6.2. Supervision and Strategic Alignment 
2.6.3. Continuous Improvement Approach 

2.7. Executive Management 

2.7.1. Integrating Functional Strategies into the Global Business Strategies 
2.7.2. ExecutiveManagement and Process Development  
2.7.3. Knowledge Management. 

2.8. Analysis and Resolution of Cases/Problems

2.8.1. Problem Solving Methodology 
2.8.2. Case Method 
2.8.3. Positioning and Decision-Making. 

Module 3. People and Talent Management

3.1. Organizational Behavior 

3.1.1. Organizational Theory 
3.1.2. Key Factors for Change in Organizations 
3.1.3. Corporate Strategies, Types, and Knowledge Management 

3.2. Strategic People Management 

3.2.1. Job Design, Recruitment, and Selection 
3.2.2. Human Resources Strategic Plan: Design and Implementation 
3.2.3. Job Analysis: Design and Selection of People 
3.2.4. Training and Professional Development 

3.3. Management and Leadership Development 

3.3.1. Management Skills: 21st Century Skills and Abilities 
3.3.2. Non-Managerial Skills 
3.3.3. Map of Skills and Abilities 
3.3.4. Leadership and People Management 

3.4. Change Management 

3.4.1. Performance Analysis 
3.4.2. Strategic Approach 
3.4.3. Change Management: Key Factors, Process Design and Management 
3.4.4. Continuous Improvement Approach 

3.5. Negotiation and Conflict Management  

3.5.1. Negotiation Objectives: Differentiating Elements 
3.5.2. Effective Negotiation Techniques 
3.5.3. Conflicts: Factors and Types 
3.5.4. Efficient Conflict Management: Negotiation and Communication 

3.6. Executive Communication 

3.6.1. Performance Analysis 
3.6.2. Leading Change. Resistance to Change 
3.6.3. Managing Change Processes 
3.6.4. Managing Multicultural Teams 

3.7. Team Management and People Performance 

3.7.1. Multicultural and Multidisciplinary Environment 
3.7.2. Team and People Management 
3.7.3. Coaching and People Performance 
3.7.4. Executive Meetings: Planning and Time Management 

3.8. Knowledge and Talent Management

3.8.1. Identifying Knowledge and Talent in Organizations
3.8.2. Corporate Knowledge and Talent Management Models
3.8.3. Creativity and Innovation 

Module 4. Economic and Financial Management

4.1. Economic Environment 

4.1.1. Organizational Theory  
4.1.2. Key Factors for Change in Organizations  
4.1.3. Corporate Strategies, Types, and Knowledge Management 

4.2. Executive Accounting 

4.2.1. International Accounting Framework 
4.2.2. Introduction to the Accounting Cycle 
4.2.3. Company Financial Statements 
4.2.4. Analysis of Financial Statements: Decision-Making 

4.3. Budget and Management Control 

4.3.1. Budgetary Planning  
4.3.2. Management Control: Design and Objectives  
4.3.3. Supervision and Reporting  

4.4. Corporate Tax Responsibility 

4.4.1. Corporate Tax Responsibility 
4.4.2. Tax Procedure: A Case-Country Approach 

4.5. Corporate Control Systems 

4.5.1. Types of Control  
4.5.2. Regulatory Compliance   
4.5.3. Internal Auditing  
4.5.4. External Auditing 

4.6. Financial Management  

4.6.1. Introduction to Financial Management  
4.6.2. Financial Management and Corporate Strategy    
4.6.3. Chief Financial Officer (CFO): Managerial Skills 

4.7. Financial Planning 

4.7.1. Business Models and Financing Needs 
4.7.2. Financial Analysis Tools 
4.7.3. Short-Term Financial Planning 
4.7.4. Long-Term Financial Planning

4.8. Corporate Financial Strategy 

4.8.1. Corporate Financial Investments 
4.8.2. Strategic Growth: Types 

4.9. Macroeconomic Context 

4.9.1. Macroeconomic Analysis  
4.9.2. Economic Indicators  
4.9.3. Economic Cycle  

4.10. Strategic Financing 

4.10.1. Banking Business: Current Environment  
4.10.2. Risk Analysis and Management 

4.11. Money and Capital Markets  

4.11.1. Fixed Income Market  
4.11.2. Variable Income Market  
4.11.3. Valuation of Companies  

4.12. Analysis and Resolution of Cases/Problems 

4.12.1. Problem Solving Methodology 
4.12.2. Case Method 

Module 5. Operations and Logistics Management

5.1. Operations Management 

5.1.1. Define the Operations Strategy 
5.1.2. Supply Chain Planning and Control 
5.1.3. Indicator Systems 

5.2. Purchasing Management 

5.2.1. Stock Management 
5.2.2. Warehouse Management 
5.2.3. Purchasing and Procurement Management 

5.3. Supply Chain Management I 

5.3.1. Costs and Efficiency of the Operations Chain 
5.3.2. Change in Demand Patterns 
5.3.3. Change in Operations Strategy 

5.4. Supply Chain Management II. Ejecution 

5.4.1. Lean Manufacturing / Lean Thinking 
5.4.2. Logistics Management 
5.4.3. Purchasing 

5.5. Logistical Processes 

5.5.1. Organization and Management by Processes 
5.5.2. Procurement, Production, Distribution 
5.5.3. Quality, Quality Costs, and Tools 
5.5.4. After-Sales Service

5.6. Logistics and Customers  

5.6.1. Demand Analysis and Forecasting 
5.6.2. Sales Forecasting and Planning 
5.6.3. Collaborative Planning, Forecasting, and Replacement  

5.7. International Logistics 

5.7.1. Customs, Export and Import processes 
5.7.2. Methods and Means of International Payment 
5.7.3. International Logistics Platforms 

5.8. Competing through Operations  

5.8.1. Innovation in Operations as a Competitive Advantage in the Company 
5.8.2. Emerging Technologies and Sciences 
5.8.3. Information Systems in Operations

Module 6. Information Systems Management

6.1. Information Systems Management 

6.1.1. Business Information Systems 
6.1.2. Strategic Decisions 
6.1.3. The Role of the CIO 

6.2. Information Technology and Business Strategy  

6.2.1. Company and Industry Sector Analysis 
6.2.2. Online Business Models 
6.2.3. The Value of IT in a Company 

6.3. IS Strategic Planning   

6.3.1. The Process of Strategic Planning 
6.3.2. Formulating the IS Strategy 
6.3.3. Strategy Implementation Plan 

6.4. Information Systems and Business Intelligence 

6.4.1. CRM and Business Intelligence 
6.4.2. Business Intelligence Project Management 
6.4.3. Business Intelligence Architecture 

6.5. New ICT-Based Business Models 

6.5.1. Technology-Based Business Models 
6.5.2. Innovation Abilities 
6.5.3. Redesigning the Value Chain Processes 

6.6. E-Commerce 

6.6.1. E-Commerce Strategic Plan
6.6.2. Logistics Management and Customer Service in E-Commerce
6.6.3. ECommerce as an Opportunity for Internationalization 

6.7. E-Business Strategies

6.7.1. Social Media Strategies 
6.7.2. Optimizing Service Channels and Customer Support 
6.7.3. Digital Regulation 

6.8. Digital Business 

6.8.1. Mobile eCommerce 
6.8.2. Design and Usability 
6.8.3. E-Commerce Operations

Module 7. Commercial Management, Marketing, and Corporate Communication

7.1. Commercial Management  

7.1.1. Sales Management 
7.1.2. Commercial Strategy 
7.1.3. Sales and Negotiation Techniques 
7.1.4. Management of Sales Teams 

7.2. Marketing 

7.2.1. Marketing and the Impact on the Company  
7.2.2. Basic Marketing Variables  
7.2.3. Marketing Plan  

7.3. Strategic Marketing Management 

7.3.1. Sources of Innovation 
7.3.2. Current Trends in Marketing  
7.3.3. Marketing Tools  
7.3.4. Marketing Strategy and Communication with Customers  

7.4. Digital Marketing Strategy  

7.4.1. Approach to Digital Marketing
7.4.2. Digital Marketing Tools
7.4.3. Inbound Marketing and the Evolution of Digital Marketing 

7.5. Sales and Communication Strategy 

7.5.1. Positioning and Promotion  
7.5.2. Public Relations   
7.5.3. Sales and Communication Strategy 

7.6. Corporate Communication 

7.6.1. Internal and External Communication  
7.6.2. Communication Departments  
7.6.3. Communication Managers: Managerial Skills and Responsibilities 

7.7. Corporate Communication Strategy 

7.7.1. Corporate Communication Strategy
7.7.2. Communication Plan  
7.7.3. Press Release/Clipping/Publicity Writing 

Module 8. Marketing in Cultural Market 

8.1. Culture outside the Industry 

8.1.1. The Art Market 

8.1.1.1. Environment of the Cultural and Creative Industry: The Place of Cultural Organizations in Society 
8.1.1.2. The Global Economic Impact of the Cultural and Creative Industry 

8.1.2. Cultural Heritage and the Performing Arts 

8.1.2.1. Cultural Heritage and the Performing Arts in Society 
8.1.2.2. Cultural Heritage and the Performing Arts in the Media 

8.2. Cultural Industries 

8.2.1. The Concept of Cultural Industry 

8.2.1.1. The Publishing Industry 
8.2.1.2. The Musical Industry 
8.2.1.3. The Film Industry 

8.3. Journalism and Art 

8.3.1. New and Old Forms of Communication 

8.3.1.1. Beginnings and Evolution of Art in the Media 
8.3.1.2. New Forms of Communication and Writing 

8.4. Culture in the Digital World 

8.4.1. Culture in the Digital World 
8.4.2. The Omnipresence of the Visual. Controversies of the Digital Age 
8.4.3. The Transmission of Information through Video Games 
8.4.4. Collaborative Art 

8.5. The Media Structure 

8.5.1. The Audiovisual and Press Sector 

8.5.1.1. The Impact of Large Media Groups on Culture 
8.5.1.2. Live Platforms, a Challenge for Conventional Media 

8.5.2. The Cultural Journalism Sector 

8.5.2.1. The Cultural Market in a Global World Towards Homogenization or Diversification? 

8.6. Introduction to Marketing 

8.6.1. The 4 Ps 

8.6.1.1. Basic Aspects of Marketing 
8.6.1.2. Marketing Mix 
8.6.1.3. The Necessity (or not) of Marketing in the Cultural Market 

8.6.2. Marketing and Consumerism 

8.6.2.1. The Culture Consumption 
8.6.2.2. Quality as a Cross-Cutting Factor in Information Products 

8.7. Marketing and Value: Art for Art's Sake, Art in Ideological Programs, and Art as a Market Product 

8.7.1. Art for Art's Sake 

8.7.1.1. The Art of the Masses The Homogeneity of Art and Its Value 
8.7.1.2. Is Art Created for the Media or Does the Media Transmit Art? 

8.7.2. Art within Ideological Programs 

8.7.2.1. Art, Politics and Activism 
8.7.2.2. Basic Symbolism in Art 

8.7.3. Art as a Market Product 

8.7.3.1. Art in Advertising 
8.7.3.2. Cultural Management for a Successful Development of the Work 

8.8. Marketing of the Main Cultural Industries 

8.8.1. Current Trends in the Main Cultural Industries 

8.8.1.1. The Needs of Consumers as Represented in Companies 
8.8.1.2. Successful Cultural Products in the Media 

8.9. Research as a Central Marketing Tool 

8.9.1. Collection of Market and Consumer Data 

8.9.1.1. Differentiation in Relation to Competitors 
8.9.1.2. Other Investigative Strategies 

8.10. The Future of Cultural Marketing 

8.10.1. The Future of Cultural Marketing 

8.10.1.1. Cultural Marketing Tendencies 
8.10.1.2. The Cultural Products with the Greatest Power in the Market

Module 9. Innovation and Project Management

9.1. Innovation 

9.1.1. Macro Concept of Innovation  
9.1.2. Types of Innovation  
9.1.3. Continuous and Discontinuous Innovation  
9.1.4. Training and Innovation  

9.2. Innovation Strategy 

9.2.1. Innovation and Corporate Strategy  
9.2.2. Global Innovation Project: Design and Management   
9.2.3. Innovation Workshops  

9.3. Business Model Design and Validation 

9.3.1. The Lean Start-up Methodology  
9.3.2. Innovative Business Initiative: Stages  
9.3.3. Financing Arrangements  
9.3.4. Model Tools: Empathy Map, Canvas Model, and Metrics  
9.3.5. Growth and Loyalty  

9.4. Project Management 

9.4.1. Innovation Opportunities   
9.4.2. Feasibility Study and Proposal Specification  
9.4.3. Project Definition and Design  
9.4.4. Project Execution  
9.4.5. Project Closure  

Module 10. Production and Direction in Cultural Management

10.1. Tools for the management of cultural organizations I 

10.1.1. Cultural Management 
10.1.2. Classification of Cultural Products 
10.1.3. Cultural Management Objectives 

10.2. Tools for the Management of Cultural Organizations II 

10.2.1. Cultural Organizations 
10.2.2. Typology 
10.2.3. UNESCO 

10.3. Collecting and Patronage 

10.3.1. The Art of Cpllections 
10.3.2. Developer of the Taste for Collecting throughout History
10.3.3. Types of Collections 

10.4. The Role of the Foundations 

10.4.1. What do They Consist of? 
10.4.2. Associations and Foundations 

10.4.2.1. Differences 
10.4.2.2. Similarities 

10.4.3. Examples of Cultural Functions Worldwide 

10.5. Cultural Development in Third-Sector Organizations 

10.5.1. What are Third-Sector Organizations? 
10.5.2. Role of Third-Sector Organizations in Society
10.5.3. Networks 

10.6. Public Institutions and Organizations 

10.6.1. Model of Organization of Cultural Policy in Europe 
10.6.2. Main public Institutions in Europe 
10.6.3. Cultural Action of the European International Organizations 

10.7. Cultural Heritage 

10.7.1. Culture as a Country Brand 
10.7.2. Cultural Policies 

10.7.2.1. Institutions 
10.7.2.2. Figures 

10.7.3. Culture as Heritage of the Humanity 

10.8. Cultural Heritage Dissemination 

10.8.1. What is Cultural Heritage? 
10.8.2. Public Management 
10.8.3. Private Management 
10.8.4. Coordinated Management 

10.9. Project Creation and Management 

10.9.1. What is Creation and Project Management? 
10.9.2. Breeding 

10.9.2.1. Public 
10.9.2.2. Private 
10.9.2.3. Coproductions 
10.9.2.4. Others 

10.9.3. Cultural Management Planning 

10.10. Art, Company and Society 

10.10.1. The Third-Sector as Social Opportunity 
10.10.2. Social Commitment of Companies through the Different Art Types 

10.10.2.1. Investments 
10.10.2.2. Profitability 
10.10.2.3. Promotion 
10.10.2.4. Profit 

10.10.3. Art as Inclusion and Transformation of the Society 
10.10.4. The Theater as Social Opportunity 
10.10.5. Festivals that Involve Citizenship 

Module 11. Cultural Heritage Conservation

11.1. Historic and Artistic Heritage Conservation and Restoration Theory 

11.1.1. How is Heritage Preserved? 
11.1.2. Who is Responsible for its Maintenance? 
11.1.3. Steps to Follow for its Maintenance 
11.1.4. Historical Evolution 
11.1.5. Current Criteria 

11.2. Museum Curator 

11.2.1. Description of a Museum Curator 
11.2.2. Steps to Follow to Become a Museum Curator 
11.2.3. Deontology 
11.2.4. Functions 

11.3. Methodology for the Diagnosis of the State of Conservation of Cultural Assets 

11.3.1. What are Assets of Cultural Interest? 
11.3.2. Cultural Properties or Assets of Cultural Interest 
11.3.3. Guide of Conservation of the Assets of Cultural Interest 
11.3.4. Alteration and Agents of Deterioration 

11.4. Methods of Analysis and Study of Materials and Techniques 

11.4.1. Definitions of the Method and Technique 
11.4.2. Scientific Analysis 
11.4.3. Techniques to Study the Historic-Artistic Heritage 
11.4.4. Cleaning and Consolidation of Assets of Cultural Interest 

11.5. Criteria for Intervention in Restoration and Conservation I 

11.5.1. Definition of Criteria 
11.5.2. Emergency Interventions 
11.5.3. Plans to Protect Fine Arts Collections 
11.5.4. Plans to Protect Ethnographies 

11.6. Criteria for Intervention in Restoration and Conservation II 

11.6.1. Plans to Protect Archaeological Remains 
11.6.2. Plans to Protect Scientific Collections 
11.6.3. Plans to Protect Other Intangible Cultural Heritage Elements 
11.6.4. Importance of Restoration 

11.7. Problems for Conservation of Assets of Cultural Interest 

11.7.1. What does Conservation Involve? 
11.7.2. Conservation Problems 
11.7.3. Criteria to Carry out a Cultural Heritage Restoration
11.7.4. Rehabilitation of Assets of Cultural Interest 

11.8. Preventive Conservation of the Cultural Heritage 

11.8.1. Concept 

11.8.1.1. What is Preventive Conservation? 

11.8.2. Methods 
11.8.3. Techniques 
11.8.4. Who is Responsible for the Conservation? 

11.9. Study of the Context of Cultural Property and Heritage Collections I 

11.9.1. What is the Valuation of Cultural Assets? 
11.9.2. Materials Used in the Conservation of Tangible Assets and Heritage Collections
11.9.3. Storage 
11.9.4. Exhibition 

11.10. Study of the Context of Cultural Assets and Heritage Collections II 

11.10.1. What is Involved and Who is in Charge of Packaging? 
11.10.2. Packaging of Cultural Property and Heritage Collections and Heritage Collections 
11.10.3. Transport of Cultural Property and Heritage Collections 
11.10.4. Manipulation of Cultural Property and Heritage Collections and Heritage Collections

Module 12. Management of Museums, Art Galleries and Exhibitions

12.1. Museums and Art Galleries 

12.1.1. The Evolution of the Concept of Museum 
12.1.2. History of Museums 
12.1.3. Content-Based Typology 
12.1.4. Contents 

12.2. Organization of Museums 

12.2.1. What is the Function of an Museum? 
12.2.2. The Core of the Museum: the Collections 
12.2.3. The Invisible Museum: The Storerooms 
12.2.4. The DOMUS Software: Integrated System Documentation and Museum Management System 

12.3. Dissemination and Communication of the Museum 

12.3.1. Exhibition Planning 
12.3.2. Forms and Types of Exhibitions 
12.3.3. Dissemination and Communication Areas 
12.3.4. Museums and Cultural Tourism 
12.3.5. Corporate Image 

12.4. Management of Museums 

12.4.1. Department of Management and Administration 
12.4.2. Sources of Financing, Public and Private 
12.4.3. Associations of Friends of Museums 
12.4.4. The Store 

12.5. Role of the Museum in the Information Society 

12.5.1. Differences between Museology and Museography 
12.5.2. Role of the Museum in Today’s Society 
12.5.3. Information and Communication Technologies at the Service of the Museum 
12.5.4. Applications for Mobile Devices 

12.6. The Art Market and the Collectors 

12.6.1. What is the Art Market? 
12.6.2. The Art Trade 

12.6.2.1. Circuits 
12.6.2.2. Markets 
12.6.2.3. Internationalisation

12.6.3. The Most Important Art Fairs in the World 

12.6.3.1. Structure 
12.6.3.2. Organization 

12.6.4. Trends in International Collecting 

12.7. Art Galleries 

12.7.1. How to plan an Art Gallery 
12.7.2. Functions and Constitution of Art Galleries 
12.7.3. Towards a New Typology of Galleries 
12.7.4. How Galleries are Managed? 

12.7.4.1. Artists 
12.7.4.2. Marketing 
12.7.4.3. Markets 

12.7.5. Difference among Museums, Exhibition Halls and Art Galleries 

12.8. Artists and their Exhibitions 

12.8.1. Recognition of the Artist 
12.8.2. The Artist and his/her Work 
12.8.3. Copyright and Intellectual Property 
12.8.4. Awards and Opportunities 

12.8.4.1. Contests 
12.8.4.2. Scholarships 
12.8.4.3. Awards 

12.8.5. Specialized Journals 

12.8.5.1. Art Critic 
12.8.5.2. Cultural Journalism 

12.9. The Motives of Culture 

12.9.1. What Culture Represents 
12.9.2. What Culture Offers 
12.9.3. What Culture Needs 
12.9.4. Promote Culture 

12.10. Basis for Didactic Museography in Art Museums 

12.10.1. Art Exhibitions and Museums: The Differential Fact 
12.10.2. Some Evidence and Opinions on All This: From Boadella to Gombrich 
12.10.3. Art as a Convention Set 
12.10.4. Art Inscribed in Very Specific Cultural Traditions 
12.10.5. The Art in the Museums and in the Spaces of Heritage Presentation 
12.10.6. Art and Didactics 
12.10.7. The Interactivity as Didactic Resource in the Art Museums

Module 13. Cultural Documentation: Cataloging and Research

13.1. Documentation of a Museum 

13.1.1. What Is the Documentation of a Museum? 
13.1.2. What is the Purpose of an Museum? 
13.1.3. Museums as a Collection Center of Documentation 
13.1.4. Documentation Related to Museum Objects 

13.2. Information Management and its Practical Application 

13.2.1. Description of the Information Management 
13.2.2. Information Management Origins and Development 

13.2.2.1. 20th Century 
13.2.2.2. Currently BORRAR 

13.2.3. Tools for Management Information 
13.2.4. Who Can be in Charge of the Information Management?? 

13.3. Documentary System I 

13.3.1. Archive Documentary Content 

13.3.1.1. Archive in Document Management 
13.3.1.2. Importance of the Documentary Archives 

13.3.2. Duties of the Personnel in Charge of the Documentary Archive 
13.3.3. Documentary Instruments 

13.3.3.1. Records 
13.3.3.2. Inventory 
13.3.3.3. Catalog 

13.4. Documentary System II 

13.4.1. Documentation 

13.4.1.1. Graph 
13.4.1.2. Technique 
13.4.1.3. Restoration 

13.4.2. Documentary Movements and Funds 
13.4.3. Administrative Documentation and Filing 

13.5. Documentary Standardization

13.5.1. Terminological Control Tools 

13.5.1.1. Hierarchical Lists 
13.5.1.2. Dictionaries 
13.5.1.3. Thesauri 

13.5.2. Quality Standards 
13.5.3. ICT Applications 

13.6. Museum Investigation 

13.6.1. Theoretical Framework 
13.6.2. Documentation vs. Investigation 
13.6.3. Information Management Processes 

13.7. Dissemination Platforms of Collections and Projects 

13.7.1. Transmission of Knowledge 
13.7.2. Social media 
13.7.3. Media 

13.8. Education in the Context of Heritage and Museums 

13.8.1. Didactics of Museums 
13.8.2. Role of the Museums and Galleries in Education 
13.8.3. Theoretical Framework of Learning 

13.8.3.1. Formal 
13.8.3.2. No formal 
13.8.3.3. Informal 

13.9. Mediation and Participatory Experiences 

13.9.1. Education for Equality and Integrity 
13.9.2. Proposals of Awareness and Respect for the Environment 
13.9.3. Sociomuseology 

13.10. Divisions of Education and Cultural Action 

13.10.1. History 
13.10.2. Structure 
13.10.3. Functions

Module 14. Cultural Management of Music and Dance 

14.1. Conceptualizations and Sources 

14.1.1. Relationships in Cultural Management 

14.1.1.1. Economy 
14.1.1.2. Sociology 
14.1.1.3. Art 

14.1.2. The Scarcity of Reliable Databases and Surveys 
14.1.3. Sources 

14.1.3.1. Websites 
14.1.3.2. Critique 
14.1.3.3. Press (All Types) 

14.2. Music and Dance 

14.2.1. Arts 

14.2.1.1. In Time 
14.2.1.2. In Space 

14.2.3. Human Resources to Develop Music and Dance 
14.2.4. Record and Video 
14.2.5. Summary of Genres at Global Level 

14.3. Sources of Financing 

14.3.1. Historic Sketches 
14.3.2. Grants for the Arts of the Classical Canon in the Last 70 Years 
14.3.3. Reflections on the Models 
14.3.4. Non-Classical Canon Music and Dance 

14.4. Types of Organization Organization and Human Resources 

14.4.1. Questions of Principle 

14.4.1.1. Producer Entities 
14.4.1.2. Programming Entities 
14.4.1.3. Mixed Entities 

14.4.2. Symphony Orchestras 

14.4.2.1. Figure of the Manager 
14.4.2.2. Figure of the Musical Director 

14.4.3. Chamber Orchestras 
14.4.4. Opera Companies 
14.4.5. Ballet Companies 
14.4.6. Auditoriums 
14.4.7. Festivals 
14.4.8. Most important Musical Bands Worldwide 

14.5. The Infrastructures 

14.5.1. Typology 

14.5.1.1. Theaters 
14.5.1.2. Museums 
14.5.1.3. Stages 
14.5.1.4. Colliseums 
14.5.1.5. Others 

14.5.2. Sizes and Capacity 
14.5.3. Location and Transportation 

14.6. The Audience 

14.6.1. What Type of Audience is Found in Music and Dance? 
14.6.2. Relationship Between Offer and Public 
14.6.3. The Consumption Type Variable 
14.6.4. Age Variable 
14.6.5. The Educational-Cultural Variable 
14.6.6. The Socioeconomic Variable 

14.7. Prices and Their Main problems 

14.7.1. Organization of the Offer 

14.7.1.1. Cycles 
14.7.1.2. Seasons 
14.7.1.3. Subscriptions 
14.7.1.4. Programs 
14.7.1.5. Functions 

14.7.2. Public and Private Spheres in Relation to Prices 
14.7.3. From Madonna to Gregorian Chant 

14.8. The Choice of Repertoires of Saturated Niches vs. Abandoned Niches 

14.8.1. Problems 
14.8.2. Before the Artist than his/her Art 
14.8.3. Is there an Excess of Formats and Repertoires? 
14.8.4. Do the Agents of Opinion Have a Negative Influence? 
14.8.5. The Profile of Programmers 
14.8.6. The Personal Taste and Musical Culture of the Programmers 
14.8.7. Are there Solutions? 

14.9. Necessary Elements 

14.9.1. Music and Dance Management 
14.9.2. Politicians 
14.9.3. Concert Agencies and Agents 
14.9.4. Music Critique 
14.9.5. Radio and Television 
14.9.6. Record and Video Labels 

14.10. The Management of Musical Heritage and Copyright 

14.10.1. Written Materials and Copyright 

14.10.1.1. Musical 
14.10.1.2. Choreographic 
14.10.1.3. Copyrights 

14.10.2. Historical Repertoires 

14.10.2.1. Problems of Editions 
14.10.2.2. Facilities for Self-Publishing 

14.10.3. Classic Repertoirs 

14.10.3.1. Problems with Costs 
14.10.3.2. Problems with Low Collections 

14.10.4. Premiere Repertoires in Popular Urban and Jazz Canons 
14.10.5. Music Archives of Unpublished Repertoire, Manuscript or Written
14.10.6. The Phonotheques 
14.10.7. The Peculiar Case of Dances

Module 15. Cultural Tourism Management 

15.1. Introduction to Cultural Heritage 

15.1.1. Cultural Tourism 
15.1.2. Cultural Heritage 
15.1.3. Cultural Tourism Resources 

15.2. Sustainability as a Reference in Tourism and Cultural Heritage 

15.2.1. Concept of Urban Sustainability 
15.2.2. Tourist Sustainability 
15.2.3. Cultural Sustainabiility 

15.3. Hosting Capacity and its Application in Tourist Destinations 

15.3.1. Conceptualization 
15.3.2. Dimensions of Tourism Carrying Capacity 
15.3.3. Case Studies 
15.3.4. Approaches and Proposals for the Study of Tourist Carrying Capacity 

15.4. Tourist Use of the Area 

15.4.1. Flows of Visitors and Heritage Tourist Areas 
15.4.2. General Patterns of Tourist Mobility and Use of the Area 
15.4.3. Tourism and Heritage Sites: Effects and Problems Derived from Tourism Flows 

15.5. The Challenges of Space Management 

15.5.1. Strategies for Diversification of the Tourist Use of the Area
15.5.2. Tourism Demand Management Measures 
15.5.3. The Enhancement of the Heritage and Accessibility Control 
15.5.4. Visitor Management in Heritage Sites with Complex Visiting Models. Case Studies 

15.6. Cultural Tourism Product 

15.6.1. Urban and Cultural Tourism 
15.6.2. Culture and Tourism 
15.6.3. Transformations in the Cultural Travel Market 

15.7. Heritage Preservation Policies 

15.7.1. Conservation vs- Exploitation of Assets 
15.7.2. International Regulations 
15.7.3. Conservation Policies 

15.8. Management of Cultural Resources in Tourist Areas 

15.8.1. Promotion and Management of Urban Tourism 
15.8.2. Heritage Tourism Management 
15.8.3. Public and Private Management 

15.9. Employability in Cultural Tourism 

15.9.1. Characteristics of Employability in Cultural Tourism 
15.9.2. Study and Profiles in Cultural Tourism 
15.9.3. The Tourist Guide and the Interpretation of the Patrimony 

15.10. Case Studies of Successful Cases in the Management of Cultural Heritage in the Tourism Field 

15.10.1. Strategies for Cultural and Tourism Development of the Local Heritage 
15.10.2. The Associative Management of a Public Project 
15.10.3. Visitor Analysis as a Cultural Management Tool 
15.10.4. Local Policies of Tourist Dynamization and Great Cultural Attractions 
15.10.5. Local Tourism Planning and Management in a World Heritage City

Module 16. Technology and Design for Cultural Promotion

16.1. The Importance of Image in Businesses 

16.1.1. MTV 

16.1.1.1. The Emergence of MTV 
16.1.1.2. Videoclip 

16.1.2. From MTV to YouTube 
16.1.3. Old Marketing vs. Digital Era 

16.2. Content Creation 

16.2.1. Core of Dramatic Conviction 

16.2.1.1. Objective of the Staging 
16.2.1.2. Aesthetic-Stylistic Strategy 
16.2.1.3. The Passage from Theater to the Rest of the Arts 

16.2.2. Consumer Target Worldwide 
16.2.3. Content Creation 

16.2.3.1. Flyer 
16.2.3.2. Teaser 
16.2.3.3. Social media 

16.2.4. Dissemination Media 

16.3. Graphic Designer and Community Manager 

16.3.1. Meeting Phases 
16.3.2. Why is it Necessary to Have a Graphic Designer? 
16.3.3. The Role of the Community Manager 

16.4. Inclusion of Creators in Conventional Sample Media 

16.4.1. ICT Applications 

16.4.1.1. Personal Sphere 
16.4.1.2. Professional Spehre 

16.4.2. Addition of DJ and VJ 

16.4.2.1. Use of DJ and VJ in Shows 
16.4.2.2. Use of DJ and VJ in Theater 
16.4.2.3. Use of DJ and VJ in Dance 
16.4.2.4. Use of DJ and VJ in Events 
16.4.2.5. Use of DJ and VJ in Sporting Events 

16.4.3. Real-Time Illustrators 

16.4.3.1. Arena 
16.4.3.2. Drawing 
16.4.3.3. Transparency 
16.4.3.4. Visual Storytelling 

16.5. ICT for Stage and Creation I 

16.5.1. Videoprojection, Videowall, Videosplitting 

16.5.1.1. Differences 
16.5.1.2. Evolution 
16.5.1.3. From Incandescence to Laser Phosphors 

16.5.2. The Use of Software in Shows 

16.5.2.1. From Incandescence to Laser Phosphors 
16.5.2.2. Why are They Used? 
16.5.2.3. How do they Help Creativity and Exhibition? 

16.5.3. Technical and Artistic Personnel 

16.5.3.1. Roles 
16.5.3.2. Management 

16.6. ICT for Stage and Creation II 

16.6.1. Interactive Technologies 

16.6.1.1. Why are They Used? 
16.6.1.2. Advantages 
16.6.1.3. Disadvantages 

16.6.2. AR 
16.6.3. VR 
16.6.4. 360º 

16.7. ICT for the Stage and Creation 

16.7.1. Ways of Sharing Information 

16.7.1.1. Drop Box 
16.7.1.2. Drive 
16.7.1.3. iCloud 
16.7.1.4. WeTransfer 

16.7.2. Social Networks and Outreach 
16.7.3. Use of ICTs in Live Shows 

16.8. Sample Supports 

16.8.1. Conventional Supports 

16.8.1.1. What are they? 
16.8.1.2. Which Ones are Known? 
16.8.1.3. Small Format 
16.8.1.4. Large Format 

16.8.2. Unconventional Supports 

16.8.2.1. What are they? 
16.8.2.2. What are they? 
16.8.2.3. Where and How can They be Used? 

16.8.3. Examples 

16.9. Corporate Events 

16.9.1. Corporate Events 

16.9.1.1. What are they? 
16.9.1.2. What are We Looking for? 

16.9.2. The 5W+1H Concrete Review Applied to the to the Corporate 
16.9.3. Most Commonly Used Supports 

16.10. Audiovisual Production 

16.10.1. Audiovisual Resources 

16.10.1.1. Museum Resources 
16.10.1.2. Scene Resources 
16.10.1.3. Event Resources 

16.10.2. Types of Plans 
16.10.3. Emergence of Projects 
16.10.4. Phases of the Process  

Module 17. Design of Cultural Events 

17.1. Project Management 

17.1.1. Gathering Information, Project Start-Up: What should We Do? 
17.1.2. Study of Possible Locations 
17.1.3. Pros and Cons of the Chosen Options 

17.2. Research Techniques. Design Thinking 

17.2.1. Stakeholder Maps 
17.2.2. Focus Group 
17.2.3. Bench Marking 

17.3. Experiential Design Thinking  

17.3.1. Cognitive Immersion 
17.3.2. Covert Observation 
17.3.3. World Cafe 

17.4. Defining Target Audience 

17.4.1. Who Is the Event Aimed at? 
17.4.2. Why Are We Doing the Event? 
17.4.3. What Is the Purpose of the Event? 

17.5. Trends 

17.5.1. New Trends in Staging 
17.5.2. Digital Contributions 
17.5.3. Immersive and Experiential Events 

17.6. Personalization and Design Space 

17.6.1. Adaptation of the Space to the Brand 
17.6.2. Branding 
17.6.3. Brand Manual 

17.7. Experience Marketing 

17.7.1. Living the Experience 
17.7.2. Immersive Event 
17.7.3. Fostering Memory 

17.8. Signage 

17.8.1. Signage Techniques 
17.8.2. The Attendant's Vision 
17.8.3. Coherence of the Story. Event with Signage 

17.9. The Event Venues 

17.9.1. Studies of Possible Venues. The 5 Why's 
17.9.2. Choice of the Venue According to the Event 
17.9.3. Selection Criteria 

17.10. Proposed Staging. Types of Scenarios 

17.10.1. New Staging Proposals 
17.10.2. Prioritization of Proximity to the Speaker 
17.10.3. Scenarios Related to Interaction

Module 18. Planning of Cultural Events

18.1. Timing and Organization of the Program 

18.1.1. Time Available for the Organization of the Event 
18.1.2. Duration of the Event 
18.1.3. Event Activities 

18.2. Space Organization 

18.2.1. Number of Expected Attendees 
18.2.2. Number of Simultaneous Rooms 
18.2.3. Room Formats 

18.3. Speakers and Guests 

18.3.1. Choice of Speakers 
18.3.2. Contact and Confirmation of Speakers 
18.3.3. Management of Speakers' Attendance 

18.4. Protocol 

18.4.1. Range of Invited Guests 
18.4.2. Disposition of the Presidency 
18.4.3. Parliamentary Organization 

18.5. Security/Safety 

18.5.1. Access Control: the Security Perspective 
18.5.2. Coordination with Security Forces 
18.5.3. Internal Control of Spaces 

18.6. Emergencias 

18.6.1. Evacuation Plan: 
18.6.2. Study of the Needs in Case of Emergency 
18.6.3. Creation of Medical Assistance Point 

18.7. Capabilities 

18.7.1. Assessment of Capacity 
18.7.2. Distribution of Attendees at the Venue 
18.7.3. Maximum Capacities and Decisions to Be Made 

18.8. Accessible 

18.8.1. Study of the Number of Accesses 
18.8.2. Capacity of Each of the Accesses 
18.8.3. Timing Entry and Exit at Each Access 

18.9. Transport 

18.9.1. Assessment of Transportation Possibilities 
18.9.2. Transportation Accessibility 
18.9.3. Personal or Public Transportation Pros and Cons 

18.10. Locations 

18.10.1. How Many Locations Does the Event Have? 
18.10.2. Where Are They Located 
18.10.3. Ease of Access to Venues

A 24-month program that will enhance your management, finance, strategy, marketing and leadership skills in the cultural and creative sector"