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The purpose of this paper is to examine organizational practice to investigate what insights could be gained to support and extend existing theory.

Adopts a clinical approach, e.g. not a priori or an academic one where data are mangled to fit a theoretical stance.

Data analysis reveals four interconnected learning cycles and the enabling structures put in place to facilitate them. The practice‐based themes support many organization learning theories; in addition, the findings augment the systems perspective.

Challenges traditional logical‐deductive (theory driven) stances. Findings do not pretend to be generalizable or definitive, but more evocative.

The paper discusses practical implications in how firms might implement enabling structures for organizational learning; and what accompanying changes in management practices and leadership would be required in implementing these facilitative structures.

This paper provides value to all organizations, in that it outlined how personnel at all organization levels can think, plan, innovate, process information and coordinate in working together. In adopting the perspective of praxis within an unconventional organizational context, the empirical findings support and reinforce some theories of organizational learning, extend or refute others and add new insights.

The main purpose of this paper is to provide empirical evidence for effective crisis communication in public emergencies including the relevance of planning and training and rehearsal; to explore the role of different stakeholders and how social media influence effective crisis communication.

A qualitative research design was employed. Two events were analysed, via the synthesis model for handling crisis communication in the public sector, as cases. First, via post-crisis semi-structured interviews, a gas explosion in the city of Antwerp was analysed. Second, via participant observation of a training and rehearsal exercise, more insight was gained on the role of training and social media for crisis communication.

The findings of this paper provide empirical evidence that (1) effective crisis communication is communication that is diversified across different crisis stages and diverse stakeholders; (2) that different internal social media tools and external social media tools are necessary to be monitored for effective crisis communication; (3) that training and rehearsal are of great importance for effective crisis communication.

This paper contributes to three current crisis communication research calls. First, the call for more research focusing on public sector crisis management, using public sector crisis communication models. Second, the call for the implementation of a more multiple-actor approach instead of an organisation-centred approach; and, third, the call for gaining insight into how specific communication channels are used before, during and after a crisis.

The purpose of this paper is to explain how intellectual capital (IC) is enacted and used in non‐profit symphony orchestras from an organisational behaviour perspective.

The paper is a nine‐month case study on two community‐based non‐profit orchestras. The method uses field observations, interviews, factor analysis, and visual models in explaining how IC is connected to organisational practices.

IC is perhaps best understood in its context to specific organisations rather than as discrete items that are allocated.

The case study is limited to non‐profit orchestras based on an organisational behaviour perspective. The results, however, invite further research into how IC is used as a resource towards strategic planning.

The study results point towards managing IC resources, given that they are grounded in actions and practices of the organisation. Questions of “how” (how is IC used?) drive the study versus questions of “what” (identification of IC).

Understanding IC as context‐dependent provides management guidance to NPO orchestras for improving volunteer participation, motivation, and meeting personal goals. It also informs boards of possible outcomes in implementing organisational change.

States that although the concept of “stress” has received increased attention in the behavioral and social sciences throughout the past five decades, it has been virtually ignored by consumer researchers. Presents conceptual and theoretical underpinnings of stress research, which suggest that many changes in individuals’ consumption behaviors are efforts to cope with stressful life circumstances. A study was conducted to test specific hypotheses about the effects of stress on consumption‐coping strategies of older adults. Results suggest that when older consumers experience stressful life circumstances, they may initiate, intensify, or change consumption activities to handle stress. Specific coping strategies were found to differ by gender. Implications for future consumer research are discussed.

The purpose of this paper is to explore the experiences of donors to a UK-based contemporary music organisation fundraising scheme through the theoretical lens of liminality.

In-depth interviews with 16 members of the Sound Investment scheme investigated the motivations and experiences of individual donors to the commissioning of new music. Thematic analysis suggested parallels with the framework of “liminality,” which shed new light on the ways in which membership changed donors' relationships with the organisation and audience.

Motivations for supporting contemporary music commissioning included personal interest, cultural responsibility and alignment to the values of the organisation. Tangible benefits, particularly access to rehearsals, brought donors into closer connection with the creative and managerial working of the organisation.

The sample did not include any lapsed donors, or people who had chosen not to participate. Future research could test the liminal framework in different artforms and through different tangible benefits.

Understanding donors as liminals could help arts organisations to develop membership schemes that more effectively sustain individual giving. Key elements of involvement and access are identified that could engage audiences more widely.

This case study foregrounds lived experience of arts donors where previous literature has primarily focussed on motivations for donating. It highlights the liminal elements of becoming an individual donor, namely, the integration and socialisation processes, the space-and time-bound interactions with the organisation and the alignment of values with the organisation. This framework offers a new way for arts organisations to understand and enhance individual giving in a time of austerity.

This article aims to help music librarians and other information professionals effectively understand and support communities of choral directors and other groups dependent on networking and serendipitous information encounters. In addition, through discussion and comparison of theories of information behavior, research articles and analysis of events and experiences, the article encourages thoughtful and practical applications of information behavior research.

This conceptual paper uses different theories of information behavior to outline three distinct modes of learning and knowing within communities of choral directors: individual searching, community expertise and serendipitous encounters.

The choral directing community is one that benefits not only from information support systems that emphasize individual information seeking, but also collaborative networking and serendipitous encounters with other community members. Librarians and other information professionals can best help this group discover new repertoire, plan concert programs, improve rehearsals and support other relevant activities through understanding and helping to provide access to professional music networks and being creative in providing opportunities for serendipitous information discovery.

Little information behavior research and discussion have focused specifically on the information practices of choral directors and how the format and schedule of a professional choral conference illuminate such practices and needs.

In this chapter, I re-frame leading in organizing as teaching and identify physical movement as a core mechanism through which leaders are sensitive and responsive to the progress of their group’s learning. To demonstrate this, I analyze interview data with choral and orchestral conductors in terms of Sheets-Johnstone’s (1999/2011) four qualities of movement: tension, linearity, amplitude, and projection. These four qualities serve as a grammar or set of basic categories to better understand how and why leaders move in certain ways in relation to their followers, for the sake of the latter’s learning and the collective ability to accomplish organizational goals. The ability to categorize conductors’ physical movements and the movement of the ensemble’s learning can help practitioners and scholars to assess the congruence between the two. With this grammar in hand, leaders can better assess and articulate what kinds of movements can be performed when, in order to guide the progress of their group’s collective learning.