Melbourne Global Music Festival: Project Management Plan

This article discusses the scope of the project management plan for the Melbourne Global Music Festival, including objectives, timeline, budget, quality, risks, opportunities, and more.

Running head: MELBOURNE GLOBAL MUSIC FESTIVAL
Melbourne Global Music Festival
Name of the student:
Name of the university:
Author Note

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Discussion on scope of project management plan on Melbourne Global Music
Festival:
1. Objective of project:
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.

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2. Timeline of the project:
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.
Task Name Duration Start Finish Predecessors
Phase 1 12 days Fri
2/16/18
Tue
3/20/18
Conducting survey around Melbourne to
collect data about how to process with the
plan
2 days Fri
2/16/18
Mon
2/19/18
Initiating project plan for Melbourne
Global Music Festival
2 days Tue
2/20/18
Wed
2/21/18
2
Schedule time for project manager 2 days Fri
2/16/18
Mon
2/19/18
Identification of communication medium
for reaching desires ensembles
2 days Thu
2/22/18
Fri
2/23/18
3
Determining possible participants and
starting initial communication
2 days Mon
2/26/18
Tue
2/27/18
5
Phase 2 10 days Tue Mon 6

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6/12/18 6/25/18
Securing the event funding 2 days Wed
2/28/18
Thu
3/1/18
Approaching the event sponsors 2 days Fri
3/2/18
Mon
3/5/18
8
Finding the budget for various global
bands like logistics and transportation
2 days Tue
3/6/18
Wed
3/7/18
9
Leasing security services for proving
security
2 days Thu
3/8/18
Fri 3/9/18 10
Creating project budget 2 days Mon
4/9/18
Tue
4/10/18
11
Phase 3 43 days Tue
2/27/18
Thu
4/26/18
Creating official invitations and various
confirmation of the ensembles and groups
for attending this event
2 days Wed
4/11/18
Thu
4/12/18
12
Scheduling time for singers (arrival and
departuture)
1 day Tue
2/27/18
Tue
2/27/18
Arranging accommodation for obtaining
and band rates
3 days Fri
4/13/18
Tue
4/17/18
14
Placing adverts for events in different
media
2 days Wed
4/18/18
Thu
4/19/18
16

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Hiring employees helping in event and
controls
2 days Fri
4/20/18
Mon
4/23/18
17
Getting ensembles and briefing them over
the event
3 days Tue
4/24/18
Thu
4/26/18
18
Phase 4 3 days Mon
5/21/18
Wed
5/23/18
Performing program plan 1 day Mon
5/21/18
Mon
5/21/18
19
Planning project closure 2 days Mon
5/21/18
Tue
5/22/18
Closing ceremony and providing awards 2 days Tue
5/22/18
Wed
5/23/18
21
Phase 5 2 days Thu
5/24/18
Fri
5/25/18
Writing down the project report 2 days Thu
5/24/18
Fri
5/25/18
23

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Figure 1: “Gantt Chart for the current project”
(Source: Created by Author)
3. Budget:
The estimated budget for Melbourne global music festival is illustrated below.
Activities Sub Activity Total Costs in
AU$
Operational This includes using internet,
meetings and others
12,000
Performing promotions 10,000
Venue Hire Hiring musical equipments 25,000
Security Contractor 40,000
Volunteers 2,000
Accommodation Accommodations for Singer or
Band
30,000
Cost of hiring the
Singer/Band
Singer or Band hire 250,000
Insurance Costs of overall insurance and
safety
60,000
Miscellaneous Other costs 10,000
Total Cost
Estimate
439,000

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4. Quality of the project:
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).
5. Client and Stakeholder expention:
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.
6. Organizational alignment:
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.

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7. Strategic alignment:
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.
8. Risks:
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
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.

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9. Opportunities:
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

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10. Survey to be conducted:
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
Survey sheet:
 Name:
 Email Address:
 Age: (Please specify your age)
 Gender: (Please select your gender)
 Location: (Please enter your location)
 Do you reside in Melbourne?: Yes/No
 Purpose of Visit:
 Length of stay:
11. Feedbacks from visitors:
The most common feedbacks that are received already include the following:
 The organization has been excellent and having seamless delivery of entertainment.

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 The Global music festival at Melbourne shows the future of the live scene with a
quality line up.
12. Inclusion:
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.

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13. 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.

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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.