5.

Taller de Músics Barcelona

“…converting the street to a square, they kept the name

and next to the new sign is still the old one:
“Calle de la Duda, Distrito III”. This allows us to go on living
next to doubt (dubte in Catalan, duda in Spanish),
which is a condition for keeping learning.”1

Lluís Cabrera
Founder and Director-General of
Taller de Músics Barcelona

una escola. un barri. una ciutat.

Everything started in the Raval district2, in the “Ciutat Vella”, the old part of the city of
Barcelona, in a rather small ground-floor warehouse that had formerly served to store books.3
The yard in front of the School is a public place and that has marked its relationship with the
neighbourhood. It is an “agora” in the old style, a meeting place within an area in which, not
long ago, many people were still living on the margin of society.4
When Taller de Músics began its activities in the autumn of 19795, the Catalan musical
industry was going through a metamorphosis of considerable degree, evidenced by the
massive transfer of its decision making and production centres to Madrid. As an inevitable
result of this situation, musical creativity in Catalonia experienced a profound shake-up and
the pop and jazz musicians in the region went into hibernation or undertook professional
retraining, which transformed a whole generation artistically cut short, into another made up
of dedicated teachers.
In parallel with that, there was in Barcelona at that time a multitude of foreign musicians
from very different places: from Germany, Yugoslavia, Japan and, predominantly, South
1
Lluís Cabrera, “Singing walls”: an article appeared on the magazine of the municipality of Barcelona and
available on its internet website.
2
SGA (General Association of Authors) have shot a film on the Taller history in 2005.
3
“It was in the year 1979 and very few people had faith in the future of such an atypical Music School, which
gathered into a small, rather uncomfortable space no less than three classrooms, one secretary and a bunch of
students aged between twenty-five and thirty.” (taken from “Barcelona Metropolis Mediterrania” n. 44,
available on the website)
4
“From the Taller de Músics we can explain the influence our organisation has had since 1979 in the changes
and transformations experienced in the triangle formed by the Príncep de Viana, Requesens and Cendra streets,
in the area bordering with Ronda de Sant Antoni, Riera Alta and Sant Antoni Abat. Twenty-five years ago, this
enclave was still known as belonging to Barcelona’s “barrio chino”. The Taller is basically a music school but it
is also a bar club (Jazz Sí), a record company, an artistic production company as well as a group deeply rooted
from its very start-off in the neighbourhood’s social problems and its wish for progressing and achieving all that
has to do with human relations in a quarter that was on the brink of marginalisation.” (Lluís Cabrera, “Singing
walls”)
5
The name means ‘Music Workshop’: “The idea was to set up a workshop in the old style, one of those
workshops where you registered as an apprentice and were trained to become a skilled worker.” (Lluís Cabrera,
“Singing walls”)

94
America (Chile, Argentina and Uruguay). From these emerged the initial teaching nucleus of
the Taller de Músics. This geographical eclecticism meant that for all of them jazz acted as a
sound bridge, while at the same time supplying the School with two of its most distinctive
characteristics: openness to varied stylistic aims and natural tendency to freedom.6
Taller de Músics (Music Workshop), is an open and generic name that well expresses these
characteristics. Although jazz has always represented the backbone of the School, many other
branches have emerged during the years, dedicated to rock, Afro-Cuban music and,
especially, flamenco, a style which has become an essential facet of the mature stage of the
Taller.
When the school completed, not without efforts, its first six months of teaching activity,
the creation of the First International Jazz Seminar (Banyoles, May-June 1980) became the
manifestation of a wish for permanent change and internationalization.7
Many people from Barcelona and around, in spite of their pop allegiance, attended the
courses and jam sessions, and so did dedicated music students from other parts of Spain, fully
aware that the Taller de Músics was where there could live the spirit of Orpheus, so often
suffocated in the conservatories.
The years 1979-1983 represented a phase of tremendous dynamism and change in the
internal history of the Taller. There began a period of more regulated and complex teaching
structure and a generation of musicians grew up, who are today considered as the essential
nucleus of current Spanish jazz.
The middle of 1992 saw the opening of “Jazz Sí”, a live music club where the school
becomes a stage.8
Feeding on its suburban roots, the School has grown into an inexhaustible nursery for
musicians, and its sphere of influence keeps extending through an uninterrupted flow of
breathtaking activities: music festivals, meetings and seminars, concerts, special events, disc
productions, assignments, publications, promotion works, etc.
Today the Taller can state with true pride that there is no Spanish jazz musician between
20 and 40 years of age who has not, at one time or another, had something to do with Taller
de Músics, be it through its classrooms or by taking part in one of its seminars. At the same
time, Catalan flamenco, one of the most interesting expressions of the time, blossomed over
Spain, is structured around courses, concert activities, and festivals organised by the Taller.
Besides this, today there are more than 20 Schools operating in Catalonia, maintaining the

6
“The arrival to the triangle of the Taller’s initiating group, was a meeting of musicians from different cultures.
This mix was the most emblematic exponent of the organisation’s birth. This fact was neither planned nor
sought, it simply happened naturally as a result of the circumstances given at that moment of political change
and especially of the will of opening and welcoming creators and artists from all over the world and the hope
shared by all in Barcelona that the new times would bring about new realities. The group was united by jazz, a
language that allowed them to carry on their pedagogic work while everyone still could introduce his distinctive
style. Catalans, Argentineans, Chileans, Uruguayans, Yugoslavs, Japanese and Germans conformed a mosaic
where jazz was not an end but a mean.” (Lluís Cabrera, “Singing walls”)
7
“This meeting of cultures, this platform of diversity had no distinctive label back in 1979. Today it has the one
of interculturality. ” (Lluís Cabrera, “Singing walls”)
8
See “Product” in § 5.4

95
structural model of the Taller de Músics, almost all of them under the control and the
management of musicians who passed through Taller classrooms.9

Taller de Músics facts and figures

SPAIN: the Taller is the biggest private Music School in terms of students number.
STUDENTS: Approx. 1000 students (more than 10% coming from foreign countries to study here)
STAFF: Approx. 85 teachers (8 of which are Chiefs of Department ) and 8 administrators (plus support from
other Taller de Músics organizations)
PREMISES: 1300 square metres of floor space over 7 premises
TALLER MODEL: more than 20 schools in Catalonia have adopted the same structural model. 13 schools,
centres and institutions currently receive support from the Taller for educational projects.

EXTERNAL CONSISTENCY OF THE SCHOOL

5.1 State: Catalonia10 and Music

The music tradition in the Catalan society is a characteristic feature of its identity.
The most famous music genre, is the “sardana”, that accompany the national Catalan dance
since the 19th century.
Flamenco, an original tradition of the south of Spain, has a strong presence in Catalonia,
mainly because of the many Andalusian immigrants, and it has a new development known as
“Catalan flamenco”.
Popular music, in the European and North American sense, never had the possibility to
develop in Spain. In the ‘70s, when Franchism was near the end, political songs had great
importance but never let popular music to express itself completely.
Rock, pop and singer-songwriters’ scene is instead rather animated in the Barcelona’s and
Catalan clubs. The most important and interesting figure is Manu Chao, former singer of the

9
When not specified from other sources, this introduction has been taken and adapted from “Taller de Músics –
Music School”, 2000, a presentation of the School and the organization, sponsored by the City Government of
Barcelona.
10
For the analysis of the general context it has been chosen Catalonia, instead of Spain as a whole, because it
possesses peculiar and rather different characteristics.

96
alternative group “Mano Negra”, that unites and mixes different music styles and languages in
engaging rhythms with a countercultural message.
Another distinctive feature of the region is the explosion of experimental music.
Because of the presence of large immigrants groups, Barcelona and Catalonia are a good
place to listen Latin-American and Afro music.
The classical music tradition lives because of two worldwide known stars: José Carreras
and Montserrat Caballé.
During the Summer the capital is animated by a great number of music festivals, such as
the Grec Festival, organized by the City Council, the European Jazz Festival, SÓNAR
(electronic music festival), LEM (experimental music festival), Tradicionàrius, etc.11

Music Education in Catalonia12

In this region there is a very old tradition of education to music studies. Until the end of the
XIX century, learned music was taught in monasteries while popular music by common
people.
Starting from 1600, Montserrat started a period of musical splendour and, today, its School
can be considered the most ancient School of Music in Europe.
During the XIX century, music education passed from the control of the Church to civic
organizations, through the establishment of the Conservatory of Liceu and the Municipal
School of Music of Barcelona, and the creation of several music groups, bands, chorus,
church choirs, etc.
During the first third of XX century, music education in Catalonia consolidated its
position, with a big proliferation of organizations dedicated to music education, such as,
conservatories, private academies, religious choirs and choral groups.
After the Second World War conservatories’ deficiencies caused the establishment of
private schools and organisations that often substitute public educational functions not carried
out by municipal schools.
The first jazz Music Schools were established in Catalonia at the end of the ‘70s, due to the
restlessness of some professionals, who wanted to create new study programs for the new
music, modifying and adapting them to the educational needs.
During that period, two important Schools of Modern Music were also started, which still
exist today: the “Aula” and the “Taller de Músics”, specialized in teaching jazz and modern
music. In these Schools, most teachers are active musicians, and this generates an atmosphere
of confidence in the students and, in most cases, an higher teaching quality.
In the Schools of Modern Music, together with Jazz, any other modern music genre is
taught: from flamenco to Brazilian rhythms, from rock to Cuban music, etc.

11
Taken and adapted from: the Rough Guide to Barcelona, 2002 (ed.it. p.175)
12
EMIPAC, Escoles de Música d’Iniciativa Privada A Catalunya i la seva realitat actual, 2004, passim

97
 THE GENERAL EDUCATION SYSTEM LAW (LOGSE)13
The law that regulates the educational system in Spain since 1990, sets the separation of
educational centres as follows14:

Schools for the Primary Education: can teach only at the level corresponding to the four
courses of the elementary degree;

Professional Centres (Conservatories): can give music lessons at medium degree and,
eventually, at elementary degree (but not at higher degree);

Higher Schools of Music: can provide courses at higher degree only.
Therefore, after the coming into force of the LOGSE in the educational system, lessons
which could have been given in the past in one centre only, will be given at least in two
centres: one for the elementary and medium degrees and the other one for the higher degree.
The law has also regulated the requirements for teachers and tutors to teach in each level of
the educational system and the national curriculum for music education in primary and
secondary schools. 15

Public Sector Policies

Public sector policies in music education are here very similar to the ones of the Italian
Governments and Public Administrators. Both the Government and local authorities have
always privileged and recognized only public Conservatories that teach classical music
education. They have therefore massively financed these institutions, no matter their results in
terms of enrolments and students’ satisfaction, leaving private Modern Music Schools without
real support and possibility to issue recognized qualification.16
Some small improvements came from the new national curriculum for music education
(LOGSE), that, at least, has led to the creation of schools for further education that include
modern music in their programs17. Even so the general disparity of treatment between public
and private schools and the lack of control and connection to results in giving funds of the
system still persist and is sometimes disconcerting.
13
LOGSE is the “Lei Orgànica 1/990 d’Ordenació General del Sistema Educatiu”, the law (general planning)
that regulates the educational system in Spain since 1990.
14
Taken and adapted from: Maria Serrat i Martin, Els ensenyaments musicals a Catalunya 1996/2002,
Barcelona, Prohom Edicions i Serveis Culturals, 2005
15
This is Lluís Cabrera’s opinion on the LOGSE expressed “Barcelona Metropolis Mediterrania” n.49:
“Another extremely negative factor, in my opinion, is the sop of including music on the compulsory curriculum
under the terms of the current Education Act (LOGSE) and how this is now being applied. It is a total failure, an
easy subject and mere filler to round off courses of study that, rather than awakening students' interest,
encourages them to reject it. What good is it to anyone? As far as I can see, only as a lifesaver for graduates in
any subject who are desperate for work and who can teach a handful of hastily learned and poorly understood
clichés.”
16
“Under the heading of frankly negative aspects, I would include the consistent institutional neglect of
everything connected with music, which is never seen as it is, as a highly complex and polymorphous cultural
(and leisure) sphere, but rather as an activity that confers social status and is therefore fertile ground for political
patronage.” (Lluís Cabrera, “Barcelona Metropolis Mediterrania” n.49)
17
10% of the courses are dedicated to jazz and modern music (Source:ESMUC website. See “References”)

98
 In Spain, Local Governments (Autonomous Regions and City Councils) finance the most
part of public cultural expenditures. This is especially true for the autonomous regions of
Catalunia and of the Basque countries, that indeed have created and currently finance the only
two Higher Schools of Music (ESMUC18) in the country.
The Central Government’s output expenditure on culture in Spain is about 0,3% of the
total State budget19 (much less than in Scandinavian countries where is about 1,3-1,5%), and
are divided into the different levels of government.20

WHO FINANCES CULTURE IN SPAIN

Regions
28,6%

City
State Councils
12,2% 59,2%

Legislation
Two unions defend music teachers’ rights in Spain. The most important is connected to the
socialist party and has in the Taller one tutor as representative.
Information about income tax deductions, pensions and social security for artists and
teachers are not available.21

Music Schools in Catalonia22

In Catalonia, differing from the rest of Spain, most Music Schools are private (70%) and
have constituted the association of the “Private Schools of Music of Catalonia” (EMIPAC),
which aims to find common actions for the future of music education and Schools in the
region.
The local Government did not play a central role in the development of that network of
private Schools choosing instead to continue financing only public Conservatories that teach
only classical music. The importance given by the politicians in the support of the
Conservatories is clear when we look at the number of these institutions in the region: eleven.
As it has been remarked, in Barcelona there is one of the two Higher Schools of Music in
Spain (ESMUC), which is the only one that can currently provide recognized qualifications of
higher education. The ESMUC depends on and is financed by the regional Government.

18
Escola Superior de Música de Catalunya.
19
In 2003. It is almost the same percentage of Italy, but it is to be considered that in Italy the Government’s
output expenditure on culture represents 52% of the total funding to culture. Culture in Spain is 4,5% of Gross
National Product (GNP).
20
Source: European Union - Cultural Policies and Trends in Europe website (see “References”)
21
And probably not present in the Spanish legislative system.
22
Source: EMIPAC, Escoles de Música d’Iniciativa Privada A Catalunya i la seva realitat actual, 2004, passim

99
ESMUC has been established 5 years ago, as a consequence to the new national curriculum
for music education (LOGSE), it consists in the union of the Conservatory, for the classic
music part and a new sector for modern music23 (10%24).
It has been estimated that in the 252 private Music Schools in Catalonia work 5100
teachers and 750 administrative employees, for a total of about 6000 people. The estimated
turnover is about 45 millions euros. Total amount of pupils and students has been calculated
in 60.000 participants.

5.2 Barcelona

Economic, Social and Demographic Structure

Barcelona is the capital city of Catalonia, the richest part and “economic engine” of Spain.
It is located along the Mediterranean coast, 160 km south of the Pyrenees mountain range.
The population of the city proper is 1.593.07525. It is the second largest city in Spain and it
numbers around 230.942 immigrants, many of them from Spain's former possessions in Latin
America.26

Music Environment
See “Catalonia and Music” in § 5.1

Relations and Funds from the Public Administration

Taller de Músics is not, and never was, funded by the Public Administration for the School
of Music27. In order to receive some financial supports, the Taller had to modify its juridical
status for the part related to extra-scholastic activities, from Association to Foundation. The
Taller de Músics Foundation now organizes every year important music events, such as the
“International Jazz Seminar” and the “Flamenco Festival”, with the financial support of the
Catalan Government.
Lately, the Town Council of Barcelona decided for the first time to support the Taller with
the restoration of the School and the construction of a new library. But, apart from these

23
“Based on a copy of the education system and the methodology of the Taller” (Blanca Gallo, Taller de
Músics’ Director of Operations). See also “Product” in § 5.4
24
Source: ESMUC website (see “References”)
25
Estimated 2005.
26
Source: Wikipedia, the free internet encyclopedia (see “References”)
27
“And the oddest thing is that, as Mr.Cabrera likes to point out, ‘Everything we organize is done at no cost to
the Treasury, because the School is absolutely self-sufficient financially speaking’. Uttering a sardonic chuckle,
he adds : ‘We have a close relationship with the public institutions, but we don't sleep together.” (from
“Barcelona Metropolis Mediterrania” n.44)

100
sporadic helps, the School’s personnel has been used to solve problems by itself during these
first 25 years.28

RELATIONS WITH THE LOCAL COMMUNITY

The Taller, instead, positively interacts with the community at large, cooperating and
communicating with it to the point of changing the surrounding environment29.
In terms of activities, the School supports and works together with 13 other schools,
institutions and organizations of the whole region for educational projects.30
Moreover, Taller de Músics provided the educational model to more than 20 Schools
operating in Catalonia.

Competitors
As it has been said, in Catalonia most Music Schools are private, and this trend is even
higher in the city of Barcelona (80%).31
Taller de Músics is, by far, the biggest School of Music in Barcelona and of the whole
Spain, and does not have any comparable private competitor in the surrounding area.
The main competition and problem is, here again, on the fund raising side, which is, for the
School of Music, inexistent. Therefore, private Schools and cultural organizations, while they
of course monitor and compete with each other, tend instead more to cooperate and form a
common front for their claims to the Government and public institutions.

RELATIONS WITH THE CONSERVATORY

The Taller is a School of Modern Music and has therefore no relations with the
Conservatory, which is teaching only classic music.
With the LOGSE, the Conservatory, already in a persisting crisis, is allowed to issue only
“primary” and “medium” level qualifications, and therefore is loosing further importance and
students’ enrolments.
In order to try to stop this trend, the Conservatory has proposed to the Taller to organise
together sector of modern music activities.

28
“Over this long evolution we definitely did learn to be patient and to understand vis-à-vis the hardship of
marginality, the dialogue has to take place above municipal and/or governmental bodies. Rather than having the
police come in again and again, in the triangle we have learned to talk, we felt that communication came before
repression.” (Lluís Cabrera, “Singing walls”)
29
“We cannot talk about municipal urban policies, legislation, rules or questions brought forward by official
bodies. In Cendra, Requesens and Príncep de Viana it was the creation and the further development of the Taller
de Músics that facilitated the enclave’s renewal, change and transformation.” (Lluís Cabrera, “Singing walls”).
See also the preceding footnote.
30
Universitat Politècnica de Catalunya, Aules de Cultura de l'Ayuntament de l'Hospitalet, Ayuntamiento de
Zarautz, Combo de Granollers, Esclat de Manresa, Escuela de Música de Premiá de Mar, Escuela Municipal de
Esparraguera, Aula Musical de Girona, etc. (Source: Taller de Músics website, see “References”)
31
See “Empirical Contributions” in § 8.1

101
 THE ESMUC
After the LOGSE and the decision to create in Catalonia a Higher School of Music that
included both classical and modern music, Taller de Músics was one of the first organizations,
because of its experience and original teaching model, to be asked to contribute in the creation
of the new study programs. Its Artistic Director, Lluis Vergés, one of the creators of the
Taller’s teaching methodology, was officially hired as teaching advisor by the City Council
for the creation of the jazz department at the upcoming Higher School of Music.
After 5 years of work, the ESMUC were established in the brand new astonishing facilities,
and Mr.Vergés, definitively employed as a professor at the jazz department, left the Taller.
Other tutors continue to teach at the Taller while they also teach at the ESMUC with some
relevant differences: at the ESMUC they are paid four times more32 and are officially
recognized as professors. Moreover, the ESMUC can issue a recognized educational
qualification, equivalent to that of a University, and this is very important for the students.
An other contradiction is that, while Taller’s diploma are not legally recognized, Taller’s
students are accepted at the ESMUC33.
At the moment the Taller de Músics is trying to obtain, if not funds, at least the legal
recognition of its tutors and qualifications through the relations with the Universitat
Politècnica de Catalunya.34
(See also “Music Schools in Catalonia” in § 5.1)

32
Than Taller and market salaries.
33
Because only the Diploma of the Conservatories, that teach only classical music, is legally recognized,
therefore, in order to have students of modern music at the Higher School of Music, they take them from private
Music Schools.
34
Because the Government seems irremovable.

102
 INTERNAL CONSISTENCY OF THE SCHOOL35

5.3 Shared Values and Mission

Mission
The main goal of the School is to educate and train future professional musicians.
From the School’s presentation36 it is possible to read some characteristic features and
objectives of the Taller’s study program ideology: “The challenge was to create a project for
musical education directed towards jazz. The European teaching tradition, with its traditional
difficulties, did not suit us, and the North American trends presented difficulties for a student
of Latin idiosyncrasies37. From all this our own project for education emerged, a synthesis of
the miscegenation of every style which defines the end of our century: jazz, Latin music,
Brazilian music, rock, funk, flamenco, Mediterranean music, etc.
With the object of establishing a teaching rationale in accordance with our times, the
educational program of the Taller de Músics is capable of imparting the sensitivity and
breadth necessary for the awareness of other genres and styles.
The creative process within the field of performance, and that of composition, demands, in
addition to ability and natural aptitude, special conditions for its expression. In this respect,
we must not forget that music, as a form of artistic expression, contains an important element
of craftsmanship. The profession of musician requires a systemized training which must be
applied in a special way, but carried out with maximum liberty, always encouraging the
student’s musicality. To achieve these objectives, the Taller de Músics stimulates spontaneity
through continuous practice in instrumental ensembles. Through the interpretation of music in
a group is where the student understand “in situ” the meaning of everything he is taught. On
the other hand, we must not forget the discipline involved in a musical apprenticeship. In this
way, we avoid falling into the trap of believing that continuous instrumental practice produces

35
When not specified from other source, all information have been gathered from the interview (3/3/2006) to
Blanca Gallo (Director of Operations of Taller de Músics – Music School) and Lola Huete (Responsible for
Image and Public Relations), from Taller de Músics publications and from the website (see “References”)
36
In the publication “Taller de Músics – Music School”, 2000.
37
“When the Taller de Músics was created, nobody would have imagined that its peculiar Modern Music
syllabus would one day appear as a valid alternative to any other course of study. "At that time - Lluís Cabrera
recalls - the sole point of reference to create a Music School curriculum was jazz. And, even though the
prestigious Berklee School of Massachusetts had proposed to us that we might like to copy its syllabus, we were
quite aware that our general levels of knowledge and training were rather different. So, with the contribution of
other music experts, principally the Chilean pianist Mario Lecaros and the Portuguese contrabassist Zé Eduardo,
we worked out a method of our own, adapted to our more anarchic, Latin idiosyncrasies". At the present time,
the Taller boasts a complete teaching body directed by Xavier Fort and formed by experts in pedagogic and
musical subjects who devote themselves to the creation and constant renovation of study programmes and
books.” (taken from “Barcelona Metropolis Mediterrania” n.44)

103
all the knowledge that is needed. For all these reasons, we emphasize all aspects related with
musical language, harmony, arrangements, analysis, the history of jazz, and musical
aesthetics.
The Taller de Músics, leader in the creation of the methodology and in the publication of
books and manuals, have shaped the musical personality of a whole generation of
instrumentalists and at the same time has formed a teaching model which has been adopted by
other schools. The teaching staff of the Taller de Músics is made up of active musicians in
the field of performance and composition. This is a fact, however, that is not at all common in
the field of musical teaching.
Finally, it is to emphasize the flexibility of the study program, revised annually and
changed to adapt it to the needs produced by the new and more varied aesthetic ideas.”38

Shared Values
The Taller de Músics, through its study program, establishes a pedagogy in accordance
with our time, able to stimulate and facilitate the creative and interpretative process, as
making the student enjoying the maximum of natural faculties and inclinations.
Taller de Músics’ activities are based on the following principles:

Music contains an artisan depth charge;

You need to have a general feeling of the process of an artistic education and go

through contents constantly;

It is important to promote the spirit of the necessity of a constant search;

The continuous practice (individual or collective) which is, in fact as important as
knowledge;

Education and personal relations have to be marked by tolerance and respect for the
freedom of individuals, of his/her personality and convictions, which cannot be constrained
by any kind of coercion nor obligation to take any ideology or belief;

The right of each school member to take part in any kind of decisions;

The guidance of the students with the purpose of making them more and more responsible
for their own education;

The right for everybody to express their thoughts, ideas and opinions, with due respect to
the teachers’ academic freedom, without using learning as a mean for manipulating or
controlling the students;

To secure the internal order, which allows to reach, in the best possible way, the School’s
educational objectives.

38 Lluís Vergés, Artistic Director of the Taller de Músics. (2000)

104
 5.4 Strategy

Target Market
Anyone wishing to make music their profession.
Amateurs can also find here the possibility to learn how to play an instrument attending
only individual weekly lessons, not completing the study program with complementary and
theoretical courses. In this case, they remain at the elementary level, and do not move forward
to the medium and high degrees.
There is no age limit to enrol to Taller’s courses. The most part of the students are aged
between 18 and 25/30 years old.

4P of the School:

Product
The original program of studies of the Taller is structured in 3 levels: elementary, medium
and advanced degree. To reach the final qualification for each level, students have to pass
exams of both instrumental and theoretical subjects. Instrumental lessons are individual, while
other subjects are attended in groups.39
Each course lasts three months, after which, having completed the course and passed the
corresponding test, the student can move up to the following level. This is the synoptic table
of the study plan:

39
“For instance, a weekly schedule might be: one (50 minutes) individual instrumental lesson, one lesson of
musical language (3 hours of theory, rhythm, lecture, ear training, etc.), one of harmony (1,20h), one of
instrumental ensemble (combo – 1,20h)…and all the week to study.” (Blanca Gallo)

105
 Once completed the elementary degree, it is possible to be admitted in lessons of the
medium degree, and after that, to the ones of the higher degree, where students have to choose
a specialization, becoming either instrumentalists or composers/arrangers.
As an instrumentalist, it is possible to specialize in jazz, Latin music, flamenco or rock.

AMATEURS
People not interested in a career in music can choose to attend only individual instrumental
lessons, once a week.

OTHER ACTIVITIES
The School also cooperates with 13 other schools, institutions and organizations of the
whole region for educational projects. (see “Relations with the community” in § 5.2)
The Taller also organizes important seminars and workshops mixing together artists
coming from different fields of music.
Taller de Músics is also a Foundation, funded by the Catalan Government, that organizes
musical events such as the “International Jazz Seminar” and the “Flamenco Festival”, and an
organization that manages a record label, a club and several concerts in Catalonia. These other
two organizations grew up with the School of Music and are still “melted together”, but are
now juridically distinct.
An important part in the events and productions is played by Flamenco, especially in its
Catalan development, an original Spanish music genre able to be understood and exported
outside the country.40

THE JAZZ Sí CLUB

It is a meeting place for teachers and students and also functions as an auditorium, where
the auditions are held every term. Also, jam sessions, and most of the talks and seminars
which are organised throughout the year take place here.
Since its creation in 1992, the Jazz Sí Club has offered live music daily. Festivals have
been held there, as well as musical cycles, discussions and lectures. It has also been a centre
for exchanges with other similar centres such as the Stadtgarten in Cologne.41

40
“We have also a dance company of Flamenco, we are working with a Flamenco artist at the moment… More
than management, we like to do production, mix artists and do something special. We are also a small record
company. But the School is not distributing the cds, as we are not distributors.” (Lola Huete)
41
“The Jazz Sí Club has marked a turning point in our development insofar as we now have a showcase for our
school activities. It works as a permanent musical exhibition which embraces all genres and styles and where
concerts are given every day : on Mondays, jam sessions and all kinds of musical improvisations; on
Wednesdays, jazz; on Thursdays, cuban music; on Fridays, flamenco; and we also welcome rock music groups
whose full blast performamces often make the audience raise the roof at weekends...” (from Lluís Cabrera’s
interview to “Barcelona Metropolis Mediterrania”)

106
 TALLER ID CARD
When students enrol at the School, they receive an ID card valid for one year which offers
various discounts: 25% on all concerts performances, discount on ticket prices for the Club
Jamboree, discounts and special offers in various music shops (instruments, discs, etc.) and all
normal advantages of a student ID card.

QUALITY
At the Taller, high standard quality is obtained by revising annually the study program on
the base of new ideas and styles.
Furthermore, students’ satisfaction and feedbacks are constantly monitored through the
“Students’ Satisfaction Surveys”. (see § 5.9)
In 200442 the Taller Foundation went through a “Quality Process” required by the
Government to meet the necessary prerequisites to obtain the official recognition and
government funds.

Price
Prices depend on the number of subjects the student chooses to attend in the four-month
period. For one individual instrumental lesson of 50 minutes the four-monthly fee is 395€,
and the same cost have most of the collective lesson. Special discounts are available for each
combinations of courses in the same period.
Workshops and masterclasses with well-known tutors and artists usually cost a bit more,
but sometimes the School may decide to consider them important for the image of the School
and the education of students, and therefore not to earn money from them.43
The School grants scholarships44 to students living in families with low income, on the
base of merit. Another 8 scholarships per year are available from the A.I.E.45 The School’s
students do not have access to Government scholarships, while it is possible for those
attending recognized public Music Schools.

Promotion
The most part of the students comes to the School by word of mouth46 from current or
former students. This is the only medium for the promotion of the School in Latin America47
and abroad, since no other advertising campaign has ever been made.

42
To which the organisation chart refers.
43
Or maybe because they are in group lessons with many enrolments, therefore the cost are easily covered.
44
Financed by the School.
45
Sociedad des Artistes Interpretes o Ejecutantes, the Association of Authors, Artists and Performers. “It is
financed by 7 Spanish Schools of Music, included the Taller. Each School has to provide for as much as half of
the value of the scholarship, the other half is financed by the AIE. Each of the 7 Schools, regardless of its
dimension, disposes of 8 scholarships.
46
“We do not know the exact figure, but we suppose that is more than 70%.” (Blanca Gallo)
47
5% of current students come from Latin America.

107
 The School advertises seminars, concerts or other extra-scholastic activities, but not
normal courses.
The School invests about 4% of the revenues in advertising. The main marketing channels
are:

The website: the second source of new students, after word of mouth. Hits are

monitored by the IT Responsible of the organization, but from time to time and not in
detail48;

Press conferences: where news about productions or important seminars, that are
appealing to the journalists, are combined with information about School’s courses.49
The School, especially through the voice of its Director-General and Founder, Lluís
Cabrera, has always had a relevant presence in the local media and has always taken
part in public discussions about the cultural life and music activities in Barcelona50;

Flyers: usually available only in the School’s premises, to give information to the
students. Sometimes they are distributed at the end of concerts and events;

The Catalan magazine “Jazz”: it is now the first time that the School advertise on a
magazine. They decided to do so because they have good relations and regard of this
two-monthly magazine.

Place
The School has 1300 square meters positioned over 7 premises and is located in the “Ciutat
Vella”, the old part of Barcelona. The main building and office are in Carrer de Requenses,
while other schoolrooms are along the two surrounding streets51, easily recognizable for the
common “green Taller” colour of the façades.
The main premises and the club are own by the School, while some separated schoolrooms
are rented.52

48
It has been reported a monthly average of 7.000 hits to the School’s website.
49
“For instance: ‘Morientes singing with Bulgarian voices’, or ‘Poveda singing Catalan poets’, these kind of
productions that the press is more interested in. And during those occasions we give information on the School’s
music courses too. If we would organise press conferences only for the beginning of the School lessons,
journalists would not come.” (Blanca Gallo)
50
As it is demonstrated by the many articles founded in the internet where the Taller takes position on many
different issues regarding the Catalan Capital. In the following extract, Mr.Cabrera describes how this presence
was also used to realize the development of the School and of the entire area: “It is important to point out that the
representatives of the so-called “speculating” sector were scared at the perspective of having media reporting
about their entry, no matter how legitimate it was, into a place where, apart from flats, there were facilities
devoted to arts and culture. They were aware that the Taller had a certain presence in the press, radio and TV and
were not ready to have that issue spread. This trump was played with intelligence to the benefit of all.” (Lluís
Cabrera, “Singing walls”)
51
Carrer Princep de Viana and Carrer de la Cendra.
52
Another thing would be to refurbish them to carry out a musical activity without having the neighbours
complaining about the noise, with costly and difficult sound damping under the scrupulous eyes of the dwellers,
thinking that the arrival of musicians would mean another inconvenience (noise) to their restless life in the area.
We are talking about century-old houses then inhabited by elderly people. (…) The general trend was to buy
after tough negotiation, attempts by the “speculating” branch to divide through secret individual conditions, and
so forth. Due to the seed of the denomination of origin (Taller de Músics), we had to take part in many
agreements of this kind, thus gaining experience in this domain, and asserting, to our own benefit and that of the

108
 As the introduction to the School points out, the Taller is deeply rooted in the place where
it has developed, and it has positively contributed to modify its surrounding environment.53

Competitive Advantage
Main competitive advantages identified are:

Professionalism: all other Schools in Barcelona do not have the same study path, similar

to the university one, leading to professionalism;

Reputation and experience: the School, one of the first Modern Music School in
Barcelona54, was established in 1979;

Prices: the first two aspects are not to the detriment of prices. “The Taller monitors
every year the prices of the most important schools in Barcelona, and we are not the
most expensive one, but just the contrary”, confirmed Blanca Gallo, Director of
Operations of the School.

All these elements together lead the Taller to have more than 10% of students coming from
other countries, especially South America, to study here. As a matter of fact, earlier Latin
American students wishing to pursue a career in music were usually applying to Berklee or
other North American Music Schools, while instead now they consider coming to the Taller
because of the language and of the cheaper prices.
This evolution and the growth of the international reputation of the School has happened
entirely by word of mouth, that is, recommendations from current and former students. No
advertising campaign was made.

Vision
Taller de Músics is currently trying to obtain the legal recognition55 of its tutors and
qualifications through the relations with the Universitat Politècnica de Catalunya.56 The
School is therefore trying to be recognized as a College/University of Music, as in the
American and Anglo-Saxon tradition, where in every university there is a Faculty of Music.

whole group, the force the Taller had in being the tenant of the piece of cake that provided most revenue to the
estate agents. (…) This trump was played with intelligence to the benefit of all. What until then was simple good
harmony between the Taller and the neighbours became thus a community of interests. (Lluís Cabrera, “Singing
walls”)
53
“We sincerely believe the Taller has done a positive work despite having moved to a piece of Barcelona that
was bewitched 25 years ago. We are satisfied with what we have achieved, having been able to bring together
musical education, dissemination and promotion. We knew that in order to do so it was indispensable to count on
our closest allies: the people living in the triangle, in the block, in this submarine that finally emerged to the
surface. We hope to be prepared for the gifts the beginning 21st century will offer to us. We will go on trying to
have the communicating vessels flow, thus showing that the mix is a sign of identity to Barcelona and, of course,
Catalonia.” (Lluís Cabrera, “Singing walls”)
54
And the oldest among those analysed in this research.
55
At this moment in time, the goal is not to obtain public funds (like ACM), but just the official recognition.
“We cannot start asking for funds to the University, because that is a very big institution and it does not need
Taller de Músics.” (Blanca Gallo).
56
As it is not possible to obtain it directly by the Government.

109
 Coming to courses, new extra-scholastic activities, seminars and workshops are introduced
every year. Moreover, new Post-Graduate Courses will be added this summer and in the near
future.57

RELATIONS WITH THE “UNIVERSITAT POLITÈCNICA DE CATALUNYA”

As mentioned before, the School is now trying to obtain legal recognition through a
relationship with the University of Catalonia.
In this regard, the Taller has just signed an extension of the previous agreement with the
University, which includes the possibility for Taller’s students to use the University rooms,
equipments and libraries, and for University students to attend a music course at the Taller,
having it validated as an optional subject in their study plan.

RELATIONS WITH INSTITUTIONS AND SCHOOLS OF MUSIC

The School cooperates with 13 other Catalan schools, institutions and organizations for
educational projects. (see § 5.2)

RELATIONS WITH OTHER MUSIC INSTITUTIONS

Taller de Músics is a founder and member of EMIPAC (Association of Private Catalan
Schools of Music58), of IASJ (International Association of Schools of Jazz) and of EMMEN
(European Modern Music Education Net).
The School has solid relations with other Spanish music institutions, such as the SGA
(General Association of Authors), that has shot a film on the history of the Taller in 200559
and the A.I.E. (Association of Authors, Artists and Performers), that provides scholarships for
Taller’s students.60
The Taller organization also maintains relationship of association with the D.I.B.A.
(Associated Independent Recordings of Barcelona), the A.P.P.A. (Association of Professional
Performance Promoters and Agents), the Catalan Council of Music, the “From the South”
(association to promote cultures from the southern part of the world) and the P.M.R.
(Association of Programmers of Rare Music).

57
“For example, next summer, in July, we will propose a new “Workshop on Composition”, where important
Spanish musicians will come here to teach in masterclasses.” (Blanca Gallo)
58
Escoles de Música d’iniciativa privata de Catalunya.
59
The playbill of the film is the first picture of this chapter.
60
See section “Price” in this paragraph.

110
 5.5 Structure

Hofstede’s Findings: Preferred Organization Types in Latin Countries61

High Power Distance (PDI) and Uncertainty Avoidance (UAI) scores, as in Latin
Countries like Spain and Italy, lead to a hierarchical and pyramidal structures, with
centralized decision-making procedures.

Organization Chart
Taller de Músics has a classic hierarchical divisional structure. The 3 divisions (Music
School, Management and Foundation) have acquired distinct legal status62 a few years ago in
order to obtain Government funding to the Foundation, but it is still managed as a united
organization.

On the top of the structure is the Director-General63, Mr.Lluís Cabrera, founder and
president of the Taller since its establishment in 1979. He takes the main and strategic
decisions of the School and of the organization as a whole64.
As it has been described, the organization is then divided in 3 divisions that correspond to
its 3 different fields of activity: the Music School for music courses, the Management for
productions, record label and the organization of concerts in the club and outside, and, finally,
the Foundation, for the “International Jazz Seminar”, the “Flamenco Festival” and other

61
Geert Hofstede, Culture’s Consequences, 2nd ed., 2001, pp.372-421
62
Now the School and the Management are limited companies.
63
“He comes from the sky and says: ‘Blanca!...’ ” (Blanca Gallo)
64
As for example when he went searching for Blanca Gallo, who had previously left the School, to offer her to
be the Director of Operations of the Music School, since the former Director, Xavier Fort, had decided to embark
on a career outside the School.

111
events funded by the Catalan Government. Each division has its Director (or Manager)
responsible for that specific field of activity.
At a centralized level, there are the functions of Administration, IT, Image and External
Relations65.

THE MUSIC SCHOOL

The Director of Operations66 is in charge of the operations management of the School, and
has to report to the Director-General about their evolutions.
Under her responsibility are the Secretariat (Secretaria), the Library (Biblioteca), the staff
for the “Course for Professional Training” (FOC)67 and the Chief of Studies (Cap Estudis).
The Chief of Studies is directly responsible for the study programs and the relations with
and among professors. He coordinates the 8 Chiefs of Departments (Latin, Flamenco, Rock,
etc.), who are responsible for the relations with the professors of that specific area and for the
lessons on a day-to-day basis. All Chiefs of Department are also tutors at the Taller.
All administrative employees, included the current Director of Operations, Blanca Gallo,
have a background in administration, not as professors or musicians.

COMPOSITION OF TALLER PERSONNEL

Admin. &
Mgmt
10+%

Teachers
90-%

(these percentages do not consider the support from the centralized functions of the organization)

Autonomy and Accountability of Each Member and Unit

The two aspects of the School’s activity, administration and education, are therefore kept
separated, but still and for this reason positively interact and cooperate, by the clear division
and hierarchy in roles and responsibilities: each member of the organization can take
decisions related to his/her level of responsibility.

65
Lola Huete, Responsible for the Image and Public Relations, is the connecting link of the 3 companies.
66
Blanca Gallo, at this moment in time.
67
Required by the Government and very demanding for the School in terms of bureaucratic duties.

112
 5.6 Style of Management

Hofstede’s Findings: Preferred Styles of Management in Latin Countries68

High Power Distance (PDI) scores, as in Latin Countries like Spain and Italy, lead to a
paternalistic style of management where the decision to consult subordinates is taken by
superiors69.
Subordinates have strong dependence need and expect superiors to act autocratically.
Organization is a system of (written) rules70 on which everybody can rely (even if sometimes
the personal authority of the superiors prevails over the rules).

The style of management has been defined as not hierarchical, informal71 and friendly, “we
are like a big family” confirmed Lola Huete, Responsible for the Public Relations of the
Taller. The perceived atmosphere is joyful and dedicated.72
Important decisions are taken by the Director of Operations73 and, at a strategic level, by
the Director-General, but in day-to-day activities and choices “decisions are often taken with
the majority criterion.”74
Tutors have the right75 to participate to all meetings and make suggestions and proposals
that are evaluated on the base of their feasibility76. The Director of Operations sets the agenda
of the meetings and conducts their course. (see § 5.9)
The School has written regulations77 that set rights and duties for tutors and students in
terms of human relations, behaviour during lessons, respect towards School’s equipment and
premises and School’s functioning. They also define the consequences in cases where those
rules are not respected. In this regard, it has been remarked that School’s managers do not
strictly and constantly refer to them, but instead they usually try to find a solution through
dialogue.78

68
Geert Hofstede, Culture’s Consequences, 2nd ed., 2001, pp.372-421
69
See “Music Schools as a particular kind of organization” in § 2.4
70
“The paradox is that although rules in countries with weak UAI are less sacred, they are generally more
respected.” (G.Hofstede, Culture’s consequences, 2001)
71
“For instance, there are schoolrooms all over the surrounding streets and it is always required a key to enter
them that often is kept by the students, therefore we always have to ask them for everything …” (Blanca Gallo)
72
The librarian, when informed about the research, exclaimed smiling: “Write that this is the best one!”
73
To the question: “How did you become Director?” she answered smiling “I managed my own business before,
I like to give orders…”
74
From Blanca Gallo’s interview.
75
It is guaranteed by the written regulations.
76
“If the teachers propose to buy a wonderful grand piano… that is not possible.” (Blanca Gallo)
77
Five pages. Moreover, there is a non-smoking sign on every door.
78
“We have written rules, but we do not refer strictly to them. We do not keep saying ‘this is forbidden…this is
forbidden…’ all the time, we try find solutions through dialogue. Only in case of big problems we have to refer
to the written rules.” (Blanca Gallo)

113
 According to the School’s managers, the dismissal of a professor has happened only once
in the recent years.79

5.7 Staff

Hofstede’s Findings: Motivation Patterns in some Latin Countries like Spain80

High Uncertainty Avoidance (UAI) and medium/low Masculinity (MAS) scores, as in some
Latin Countries like Spain81, entail the research and use of motivations by security and
relationships.
Success is measured partly by the quality of the human relationships and of the living
environment. Salaries and advancements are based on seniority and skills, rather than on
performance.

The Personnel of the Taller is constituted by 85 teachers and 8 administrative employees.

The School receives also support from centralized functions of the other Taller organizations.
Some years ago, the Taller benefited by the service of conscientious objectors until a few
years ago, but not anymore, since it is no more compulsory to choose between that and the
military service in Spain. There are no volunteers in the organization.
In this analysis I refer to Staff as a synonymous of School’s tutors (administrators and
managers are analyzed in § 5.6 and 5.8), while I use Personnel to include both teachers and
administrators.

Qualities
All tutors at the Taller are professional musicians, active in the music industry. “This is
what differentiate more the Taller from the other schools” claimed Mrs.Blanca Gallo, Director
of Operations of the School.

79
“We are not people that like to use discipline!” (Blanca Gallo)
80
Geert Hofstede, Culture’s Consequences, 2nd ed., 2001, pp.372-421
81
And France, but not Italy. (see § 6.7)

114
 Type of contracts
All tutors have a one-year contract82 based on the number of teaching hours. The hourly
rate is the same for every tutor, apart from the most famous tutors of the workshops and
specialization courses.83 Also the Chiefs of Department receive slightly higher salaries.
In the School there is one teacher who is also the representative of a union connected to the
socialist party that defend teachers’ rights.

Autonomy in methods and contents

The Taller has a defined study program and own syllabuses, that allow the students to
achieve predetermined educational goals. Even so, tutors may propose and use other teaching
aids, but have to guarantee that the same goals are achieved. The School makes sure that
teachers follow the study programs through the results of students’ exams and with the
Students’ Satisfaction Surveys.

Selection
No official qualification is required for tutors to be selected by the Taller. Many of them
were former students of the School.84

Training
Taller de Músics provides85 ongoing training to both tutors and administrative employees.

Advancements
Experience, in both field of education and as a professional musicians, has been defined as
a fundamental characteristic of a Chief of Department and, even more, for a Chief of
Studies.86

Turnover
The assessed Staff turnover is extremely low, “about 2 or 3 tutors per year, over a total of
85” confirmed Blanca Gallo87, and this can also be taken as a measure of their satisfaction.

82
Even if the students pay only for a four-month period at a time.
83
This does not automatically mean that those courses cost more (see “Prices” in § 5.4)
84
“Usually, when students are near the end of their higher degree, they start playing live music in clubs, training
as professional musicians. After the end of the exams, if one teacher is ill or missing, they are called to replaced
him and we can test their value as teachers.” (Blanca Gallo)
85
And pays.
86
“If you have it, you know all the professionals in the field…” (Blanca Gallo) And when asked about how she
became Director of the School, she replied: “with time, step by step…”.
87
Some years ago it was a problem, but now we are satisfied with it.

115
 5.8 Skills88

Skills and Background of the Management

The Management of Taller de Músics has been able to create, starting from nothing, a
model for Music School education and organization rooted and consistent with context,
traditions, idiosyncrasies and characteristics of Spanish and Catalan people. The direction
from the first year on has always been not to accept the American model (the famous Berklee
School of Massachusetts had proposed it to the Taller at the beginning89), but to create an
innovative “Taller Model” of education that fitted the society in which the School lived and
developed.90
Moreover it has also been able to face the challenges and complexity of modernity by
continuously adapting its model and activities to the “new world”: from the creation of the
“International Jazz Seminars” to the development of the Management&Productions
department, from the opening of the “Jazz Sí Club” to the juridical separation of the Taller in
3 entities and the establishment of the Taller de Músics Foundation, etc.
The success of this model and work is evident in its results: today Taller de Músics is the
biggest private Music School in Spain, more than 10% of its students come from other
countries to study here (probably the European record, certainly the point of reference for the
Latin American world and the Spanish speaking countries), it is one of the oldest and with
more tradition Modern Music School in Europe, and has provided expertise and tutors to
more than 20 Music Schools in Catalonia, included the new public Higher School of Music.
These results and developments always happened in deep and sometimes problematic
relation with the cultural and social environment, with its problems and issues, and the School
has been able to positively interact with it (with constant public relations) to the point of
changing it, overcoming the difficulties of a “not easy external environment”. All this through
dedication, constant work, far away from the temptation of selling dreams to anyone.
A unique characteristic of the Taller Management91 is the separation of the two functions
of administration and education (see § 5.5). It is the only School analysed in this research
where all the administrative employee (included the Director-General and the Director of
Operations) do not have a background as professional musicians92, but still have been able to
cooperate successfully with the Educational Staff, through the clear division in roles and
responsibilities.

88
This paragraph is based on personal impressions received during my one-day visit at the Taller and from the
reading of Taller documents. I know that a more in depth acquaintance would have been necessary to have a
better and more exhaustive impression about the skills of the personnel. Anyway, it is important to stress that the
purpose here is to give some ideas about Music School management and managers, not to describe anybody.
89
See “Shared Values” in § 5.3
90
Also regarding School fees, that could not be as high as the American ones for the private universities.
91
Which would deserve further analysis.
92
But only of music lovers.

116
 Finally, it is important to underline how the strength of an organization can be measured
also from its capacity to develop its resources over time and substitute key personnel when,
for some reasons, they left the organization. This is certainly something that, so far, the Taller
has been able to do.

5.9 Systems

Informative System

The information goes up to the higher responsibility roles by means of updated reports (see
“economic and non-economic valuations” on this paragraph) and different levels of meetings.
For the data collection of students, Taller de Músics mainly works on pc systems and
databases and is now planning a new software for the management to improve its possibility
to provide statistics about trends in the School.93

Meetings: The Cultural Litmus Test

According to Pascale and Athos, “Meetings are the cultural litmus test. Culture asserts its
invisible presence on patterns of day-to-day communications. Meetings are the best known
mechanism for efficient information sharing, for accomplishing collective problem solving
and coordinated action.” 94

As it has been mentioned (see § 5.6), tutors can participate to meetings and bring their
suggestions about any aspect of the School’s activities. The agenda is set by the Director of
Operations, who also conducts the meeting.95
The most important meetings in the Taller agenda are:

Once a year with all Professors and the Chief of Studies;

Once a year with the Chief and Professors of the same Department:

2 meetings per four-month period: with the 8 Chiefs of Department, the Chief of Studies
and the Director of Operations.

93
“When we were smaller we kept more statistic available, but now we don’t have time to do that, because now
statistics are made by counting with the hands! Therefore we are waiting for the new pc program…” (Blanca
Gallo)
94
R.T.Pascale, A.G.Athos, The Art of Japanese Management, 1981, p.130
95
“An example of the procedure is: the Director of Operations sends an email to the participants informing them
about some news for the School, for instance new rooms available, then everyone is allowed to make proposals
on how to use them, finally the Director sets the agenda of the meeting and conducts the discussion.” (Blanca
Gallo)

117
 As it is possible to notice at first sight, the number of meetings and their frequency are
considerably lower than those reported by Kulturskolan Stockholm and ACM Guildford.
Culture probably plays its part, but it is important to consider that meetings (as well as P&C
systems) are costly in terms of time and, therefore, money, and Taller de Músics do not
receive support from Public Administrations for its courses.96

Planning, Budgeting and Controlling Systems

Hofstede’s Findings: Planning and Controlling Systems in Latin Countries97

In countries with high Uncertainty Avoidance (UAI) and Power Distance (PDI) scores, as
in Latin Countries like Spain and Italy, needs and power require a more detailed planning
and controlling system, with more short-term feedbacks.
The information flow is centralized and planning is left to superiors and specialists. Trust
on subordinates is lacking. Norms support “political” thinking.

The planning and budgeting system has been defined as “not super-defined”: at the
beginning of the academic year a budget is made that defines the estimated revenues and,
consequently, the number and type of masterclasses and seminars the School will propose
apart from the normal courses98. Then these decisions are adapted during the year to the actual
flow and disposal of resources.
The main control tool are the “Students’ Satisfaction Surveys”, in which the name of the
tutor is reported, as well as a judgement over the secretarial staff. (see below)
The academic year is subdivided into 2 four-month periods: from September to February
and from February to June. The enrolments are made at beginning of each period and for the
same period only.99 Summer courses and seminars are offered in July and August.
All the following data concern the first four-month period of the year 2005/06, and are
gathered and available to School’s managers for each period of academic activity.

96
This is true also for the Italian case analysed in the next chapter, and it influences the resources (time and
people) that the organization can put also in other systems and procedures.
97
Geert Hofstede, Culture’s Consequences, 2nd ed., 2001, pp.372-421
98
“Five or six per year as a minimum, possibly more.” (Blanca Gallo)
99
“The ideal would be to attend the School all the year long, but there are many university students who do not
have the possibility to attend the second four-month period because of their exams. In this way it is not a
problem, they come back in September.” (Blanca Gallo)

118
 Economic Valuations

TOTAL REVENUES
Total Taller de Músics’ revenues for “normal”100 music courses in 2005 were about
600.000 euros.

COM POSITION OF TALLER REVENUES

Student fees
100%

PRICING DECISIONS
Pricing decisions are described in § 5.4

COMPOSITION OF TALLER COSTS

Administration
Salaries 7%

other costs
29%

Teaching
Advertising Salaries 60%
&Marketing
4%

100
Excluded masterclasses, seminars, etc.

119
Non-economic Valuations

AGE DISTRIBUTION OF STUDENTS

17-18 3% 19-21 12,1%

22-25 26,6%

13-16 1,7%

40+ 6,5%

26-30 31,4%
31-40 18,7%

DISTRIBUTION BETWEEN SEXES

Females
22,3%

Males 77,7%

(also available per age bracket)

DISTRIBUTION AMONG INSTRUMENTS

Guitar 26,9%
Piano 24,6%

Flamenco Guitar
3,6%

Vocals 14,5%

Sax 5,5% Bass Guitar

6,6%
Flute 1% Drums 12,5%
Clarinet 0,6%

(also available data concerning complementary courses and other group lessons)

120
 WHERE TALLER STUDENTS COME FROM

other
European South America
countries 5%
3,5%

other countries
2,1%

Spain 89,4%

(data available regarding the country-by-country distribution)

Therefore 10,6% of total Taller’s students come from a foreign country to study here.

AVERAGE LENGTH OF ATTENDANCE

The School does not keep a precise statistic “but, on average, most of the students attend
the elementary and medium grade, therefore 2/3 years.”101

STUDENTS’ SATISFACTION
See “Quality” in § 5.4

PERFORMANCE EVALUATION OF TUTORS

Tutors’ performances are evaluated and monitored through the “Students’ Satisfaction
Surveys”, at the and of every four-month period. Students are asked for a judgement over
both teaching and administrative staff of the School. The names of their personal tutors are
written on the survey.
Once the information are gathered and the statistics calculated, the results are
communicated to the tutors. In case of unsatisfactory results, the Chief of Studies has a
personal meeting with that tutor to point out and face the problem.

101
From Blanca Gallo’s interview.

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 Cases of serious problem are very few, and normally come from the instrumental lessons,
which are individual for the students, and therefore, in case of lack of feeling with the teacher,
the lesson can be unsatisfactory. Problems due to technical or educational reasons are very
rare.

EFFECTIVENESS OF COMMUNICATION
See “Promotion” in § 5.4

Incentive System
All teachers get the same hourly rate (see § 5.7). There are no economic incentives based
on results.

FINAL ASSESSMENT

5.9 Overall S-Consistency of the School

All 7 S’s of the Taller and the external environment (Spain, Catalonia and Barcelona)
appear aligned, connected together in a consistent way and contribute to the School’s success.
The following figure is a graphic representation of the S-Consistency of the School.

122
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