ESMT

MASTERS
THESIS

Music theory: a theoretical

framework for designing
organizational change
Cuong Nguyen

A thesis submitted in partial fulfillment of the requirements

for the degree of Master of Business Administration at the

European School of Management and Technology

Berlin, 2010
Acknowledgements
I would like to thank professor Stuart Albert of University of Minnesota, for initial guidance
regarding how to approach the transformation process through the lens of music theory. I
would also like to thank professor Rajshri Jayaraman of ESMT for critical review on the
details, structure and the proposition to create the main framework.

Table of contents

1. Introduction .........................................................................................4
2. Organizational change under music theory .....................................................6
2.1 Why music theory .............................................................................6
2.2 Music theory concepts and organizational change .......................................7
2.2.1 Tonality ...................................................................................8
2.2.2 Melody ....................................................................................9
2.2.3 Harmony ................................................................................ 11
2.2.4 Texture.................................................................................. 13
2.2.5 Timbre .................................................................................. 15
2.2.6 Rhythm .................................................................................. 16
2.1.7 Expressive qualities ................................................................... 18
3 A theoretical framework for organizational change......................................... 20
4 Analysis of Pos Malaysias FOCUS Transformation ........................................... 21
4.1 The FOCUS transformation program ..................................................... 21
4.2 Analysis of strategies and implementation .............................................. 22
4.2.1 Compelling reason .................................................................... 23
4.2.2 Visions and strategies ................................................................ 25
4.2.3 Processes ............................................................................... 27
4.2.4 Structure and System ................................................................. 29
4.2.5 Culture .................................................................................. 30
4.2.6 Entrainment ............................................................................ 32
4.2.7 Empowerment ......................................................................... 33
5 Conclusion ......................................................................................... 35
References .............................................................................................. 36

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Abstract

Purpose: With the application of music theory, Stuart Albert (2002) pioneered the moment
timing problem through the basic fundamental of building musical tension to assess the
particular moment of releasing such tension. From a broader view, this idea can be
generalized as a novel organizational perspective from the music theory standpoint.
Looking further, if music can be related to time in an organization, then it is quite possible
that music can also be related to timing-oriented task such as project management. In this
paper, I propose a broader approach to use music theory to conceptualize a framework for
management of organizational change as a project. Given the fragmented nature of
current theoretical frameworks on organizational change, the approach from music as a
well-established science can hopefully contribute to the knowledge gap. Finally, I will
analyze the current FOCUS transformation process of Pos Malaysia using the proposed
framework.

Methodology: I will approach music theory and relate it to the conceptual components of
an organizational change program, and propose a framework for conceptual and system
dynamic matching. Afterwards, I will examine the FOCUS transformation process of Pos
Malaysia from the perspective of the organizational framework established. At the same
time, I will propose changes and improvements in the program through common technique
from the established science of music. The conclusion is to prove useful a framework for
analysis, design and evaluation of organizational change objectives. The established
framework is reasserted to be systematically and conceptually backed by the science of
music theory.

Originality value: My proposition is that the mindset of change management program

designer should be similar to the mindset of a musical composer. This is not to say that
business people need to learn music, but an understanding of music concepts might be
helpful for organizational thinker. Furthermore, the established science of music theory
might be useful contribution to the less established science of organization and change
management. The introduction and verification of a music-based conceptual framework to
design, analyze and evaluate organizational change is the proof of my proposition.

Keywords: music theory, management, change, organizations, behaviors, metaphors

Paper type: Conceptual paper

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1. Introduction

Poole (2004) noted that we define organizational change as a difference in form, quality,
or state over time in an organizational entity. To explain organizational change is to
articulate what makes organizations what they are and to suggest how we may shape and
reshape them. Organization change, therefore, requires full understanding for design and
implementation. There are many best practice and empirical literature about
organizational change. However, scholars cannot deny the truth that the literature on the
management of change has been largely atheoretical and fragmented (Quy Nguyen Huy,
2001). There is a constant need for the development of knowledge to advance both theory
and practice of change management.

The importance of organizational change in todays volatile world is unquestioned. It is

hard to walk into any organization today and not see any initiative for change. One
example is GE where Jack Welch has been changing for decades even when the company is
doing well. A common American motto is if it aint broke, break it. In todays business
world where major crises happens every decade or less, companies are constantly changing
to adapt and refresh themselves to cope with the new and ever changing environment.

One of the well-respected articles on organizational change is Leading Change by John

Kotter (2007). In this article, the author established eight steps to transforming an
organization that mentioned many theoretical aspects such as vision, empowerment and
institutionalization. Nevertheless, even for such a classic publication, there is no
theoretical explanation for the eight step framework. It is quite possible that they are
there out of empirical experience of the real world transformation best practices.
However, a successful program in one context when applied to another context might
produce mismatch or lacks sound basis. To compensate for such gap, some organizational
scholars have approached the issue from many theoretical viewpoints. Nevertheless, there
remains a constant need for sound frameworks and theories regarding such change process.
The idea is to find the principles behind the planning of such changes that go further than
empirical best practice that is prevalent in todays literature.

In recent years, some scholars (Albert, 2002; Rogers, 1994; Barry, 2003) have mentioned
music as an established science that resolves the inherent complexity of organizational
processes. Music concepts such as rhythm, melody and harmony can establish a theoretical
foundation to the composition of organizational activities, especially project oriented
activities such as organizational change. The similarity of music composition and

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organizational change is that they are both an art and a science. Furthermore, a successful
organizational change project shares many of the quality as a fine piece of music in the
way that they both fulfill the requirement of a well designed program. Therefore, the
approach to organizational change from the music theory perspective would provide a
fruitful area for further analysis and development.

In fact, one of the first to mention the link between the science of music and social
behavior is the German author Hermann Hesse. In his book The Glass Bead Game
published in 1943, Hermann Hesse described an imagination of the 25th century world with
a game that requires the hard study of music together with cultural history and
mathematics. The game is an abstract combination of all arts and sciences, in a way
making profound connections between seemingly unrelated subjects. This is a proof that,
even when music theory was not so well established, scholars had understood the
implication of music science in the behavior of everyday life. The purpose of this paper is
to articulate deeper into the application of music theory to organizational change process.

Change can take many forms; it can be planned or unplanned. Within the context of this
paper, I will only focus on changes that are planned, just like the planned nature of
common musical composition. In the following chapters, I will proceed to go in deeper
analysis of the proposed approach and provide hopefully convincing argument why music
theory should be applied to enrich management change theory. The argument will be
based on mapping of music concepts and organizational change concepts. At the same
time, the system dynamics of music concepts will enrich the respective organizational
concept. In the later chapter, a framework will be proposed to capture the idea and to be
used in the practical analysis of Pos Malaysia under transformation.

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2. Organizational change under music theory

2.1 Why music theory

Music theory is the art and science of how music works. It explores and analyzes the basic
parameters or elements of music such as rhythm, harmony, melody, structure, form, and
texture. From a broader perspective, music theory may refer to any conception, belief or
statement about music. Music theorists have applied physiology, psychology, and acoustics
to the explanation of how and why music is conceived. This is because there are biological,
social-cultural, cognitive, and perceptual reasons why decision making is driven by the
temporal nature of action revealed by the use of music theory concepts. Music theory may
detect patterns that have their origins in our biological endowment (Albert, 2002). For
example, the placement of the climax near the end in Western tonal music could be
understood from the goal gradient hypothesis: animals run more rapidly as they approach
the goal (Hull, 1934). Another example is that the concept of tension building and
releasing in music could be understood from our biological requirement for homeostasis.

However, the application of music theory reaches beyond our biological endowment. As
human being, we are time-experiencing organism. We chose to act because we find an
opportunity to do so. And the actions can arise from the time pattern that we create,
interpret and respond to. The action and interaction in our lives results from our
performance much logically and systematically connected like notes in a musical
performance, regardless of the actual quality. Each action or event arises at the right time
based on logical or emotional reason embedded in the players. Therefore, the composition
of a sequence of action plans should be just like the composition of a musical piece. In
fact, music can get as complex as the complexity level of organizational activities. Even
culture issues can be programmed into such activities in the same manner as culture
affecting music.

There is also a widely accepted proposition organizational change is as much an art as a

science. Therefore, the approach to organizational change from theory of the art is quite a
promising one. In this case, music theory opens the door for scientific study of
organizational change. Even issues such as intuition, subjective judgment or gut feel can
be examined from music theory, just like the rationality of aesthetics. Therefore, music
theory can help us approach the rationale and design of such organizational programs from
a both scientific and artistic standpoint of a composer.

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2.2 Music theory concepts and organizational change

Just like the various nature of musical production, there may never be a full music theory
framework to be applied to organizational change. Music theory, therefore, only supplies
us with the tools and techniques that can be used together with other theories. Therefore,
our expectation of the contribution of music theory to organizational change should be
limited to the understanding that there is no universal formula to art. This is, therefore,
not a deficiency of music theory but rather the nature of organizational change. As music
theory is an established science, the related literature is voluminous. In this paper, we
focus on the general theory and within the tradition of Western tonal music.

Much of music today is process music, which arises from a process that is audible. In a
similar manner, each planned sequence of organizational change actions has to be
sensible. Looking at the whole organizational change program, the sensible management of
organizational change can be considered similar to a complete musical performance.
Therefore, examining the composition of organizational change from a music theory
standpoint will no doubt set light into music theory as a tool for planning and management
of time in general. With such understanding of music theory concepts applied to
organizational change, we can hopefully design a framework for organizational change that
is backed by an established science rather than empirical best practice. At the same time,
the technique used in music to deal with different instruments used, different paces or
performance styles will be discussed as applicable to organizational problems. In this
manner, approach to organizational change framework and techniques from music theory
standpoint will provide with a backing from an established science and make such
approach a conceptually and theoretically stable methodology.

In the following paragraphs, we will approach the different concepts of music theory
parallel to organization change concepts. Although there are quite a few fundamental
music theory concepts, we will only explore the concepts that have more organizational
nature and less musically particular for the time being. Comparison with classic views from
the current literature will also shed similarity and agreement or contradiction.
Nevertheless, the contribution here is not to prove the similarity or contradiction, but to
establish a framework that is scientifically sound for organizational change with the help
of music theory, and propose the use of music techniques in managing the organizational
change process.

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 2.2.1 Tonality

Tonal structure means the use of a central note, called the tonic, around which the other
tonal material of a composition the notes, intervals and chords is built and to which the
music returns for a sense of rest and finality (Ammer, 1972: 51) Tonality is the basis for a
great range of musical meanings, understandings, materials, and even structures. It can
establish a tonic, or central chord, and use a rather flexible network of relations between
any chord or pitch and the tonic, similar to perspective in painting.

As an example, the melody above achieves its strong tonality through its construction,
continuously returning to the tonic, thereby emphasising it. The Dorian mode circled in the
figure has the most influence in the described pentatonic scale 4.

Tonality has a hierarchical structure. The tonic triad is the center to which other chords
are supposed to lead. Passage from a stable base, or from instability toward a base of
stability/repose, is the essence of musical motion (Epstein, 1995). Inherent in this concept
is the law of return toward stability that can be applied as the central motivation for
tonic movement.

In the context of organizational change, such motivation for movement is the actual
necessity for a change which usually comes from the same law of return. In particular,
the need for change comes from proven or emerging sign of instability such as diminishing
return or stock price. Management generally feels the pressure to change so as to return to
previous stability level of performance. This applies even for companies that are doing
well. Management can still be pressured to change when there is a sign of movement
toward instability. They need to maintain the same level of growth or the company will

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gradually move behind. The law of return toward stability in music theory does accordingly
explain the motivation for change which is the theme of any transformation process. And
until the organization returns to its stable base, the project has not come to a full
completion.

Another method of composing a tonic is to give it variation. The music piece can return to
its stable base but changing some elements of a musical thought, in this case, the tonality.
In a musical sense, it gives the note a different mood and meaning. This relates to the
emotional element of music. From an organizational perspective, this is no different from
changing the emotional element of the return to stable base. In fact, variation can be
applies to any point in the process and not just the tonic and give it a totally different
meaning and mood. I believe this emotional element can be related to the emotion and
sense of purpose for the organizations undertaking.

There is also another motivation for proactive change for the better. Companies can
decide to change to gain a better position in the competitive environment. Such
motivation does not apply to the general law of return described. Music theory does reply
with a corresponding concept of progressive tonality. Progressive tonality is a
compositional practice whereby a piece of music does not return to the key in which it
began, but 'progresses' to a different key for an ending. In this connection, a different key
means a different tonic, and not just a different mode. Organization can change to achieve
a new state of balance that is different from the original state. In conclusion, the music
theory concept of tonality structure does cover all bases for the theme or motivation of
change management.

2.2.2 Melody

Melody is a group of notes played one after another. Melody is the tune. It is often the
easiest part of music to remember, the part that you hum. Melody is considered to be the
horizontal aspect of music. A melody is well shaped when its progress, its articulation
into phases of activity and phases of rest, its modes of continuation, its manner of
completion and closure, and even its temporary disturbances and irregularities are
intelligible to the practiced listener and enable him to envisage with some degree of
specificity and accuracy what the later stages of the particular musical process will be.
Because good shape is intelligible in this sense, it creates a psychological atmosphere of
certainty, security and patent purpose, in which the listener feels a sense of control and
power as well as a sense of specific tendency and definite direction (Meyer, 1956). The

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statement does not apply to atonal music, but Meyer is mentioning about Western tonal
music, which is the focus of our analysis and application.

From the composers perspective, the importance of melody is in the search for such a
strong shape. The shape of a melody line refers literally to the geometric line that
connects the notes together as in a dot-to-dot manner. The figure below illustrates the
impression of a melody with upward shape that makes the music line appear intelligible.

Likewise, to compose the process of organizational change, management faces the

challenge of creating an intelligible storyline. This is a critical component of designing the
change process because the normal reaction to music we do not understand is moral
outrage (Rosen, 1994). Three out of the critical eight steps that John Cotter (2007)
established as critical for a transformation process are related to the storyline. They are
creating a vision, communicating the vision and empower others to act on the vision. While
the creation of the story line is analogous to creating a vision, the later steps can only be
effective if management succeed in the first step. Without the creation of a strong shape,
management will not succeed in communicating the vision and enabling others to see their
part in such vision.

According to John Kotter, the creation of such vision or a compelling storyline by definition
includes the development of strategies to achieve. If strategies are plans of action, then
the critical component of planning and management of time in organizational change is to
design an intelligible plan. Each strategy must be an intelligible melody embedded in its
phases of activity and phases of rest, its modes of continuation, its manner of completion
and closure (Meyer, 1956). Only with an intelligible storyline, the people will have the
aforementioned psychological atmosphere of certainty, security and patent purpose, in
which the listener feels a sense of control and power as well as a sense of specific
tendency and definite direction (Meyer, 1956). This will complete the task of
communication and open the door to empowerment as the critical steps toward the

10
success of transformation effort. Interestingly, empowerment is step number five in John
Kotters eight steps. However, he never stresses the importance of intelligible vision
toward empowerment. The meaning of melody associating to vision gives more essence to
vision itself.

2.2.3 Harmony

If melody is considered the "horizontal aspect of music, harmony is considered to be the

vertical aspect. Harmony is the use of simultaneous pitches or chords. Harmony involves
chords, their construction and progressions, and the principles that govern the connection.
Harmony is the relation of chords to chords and notes to notes as they are played at the
same time. Harmonic "patterns" are established from chords and notes in successive order.

Simply speaking, harmony is also a group of notes that are played behind the melody.
Harmony supports the melody and gives the mood and texture to the music. Changing the
harmony would effectively change how the piece of music sounds. The same melody will
sound different playing with one harmony or another.

From a change management perspective, we can visualize harmonies as the various

processes that runs along the storyline, or the harmony that runs along the melody. In
other words, harmonies can be considered the operational processes that are built to
implement the strategy. In a similar manner, different operational processes will influence
how the whole transformation process appears and realizes itself.

Harmony is based on consonance. Consonance is a concept that describes the situation

when notes sound good together playing at the same time. Chords built only of

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consonances will sound pleasant and "stable." Stability means you do not feel the need to
change to a different chord even when listening for a long time. Consonance can vary
across a wide range for various reasons such as perceptual roughness, perceptual fusion or
familiarity.

Dissonance is the case when notes sound harsh or unpleasant when played together. In
other words, they may feel "unstable" and necessary to move towards a chord that resolves
the instability. Though, it is a matter of opinion whether the notes seem pleasant or
unpleasant. Harmonization usually sounds pleasant when there is a balance between
consonance and dissonance. In other words, harmonization occurs when there is a balance
between tense and relax moments. For this reason, usually tension is 'prepared' and then
released.

This concept of consonance and dissonance is valuable in designing harmony in the

transformation process. Since transformation usually implies changes, we can visualize the
new processes and the old processes are dissonant processes. There is always tension and
resistance to changes within the organization which is exactly the relationship between
consonance and dissonance. Just like music, a successful transformation creates and
resolves such tension. The idea is to create harmonization within changes through
introducing tension between old and new processes and releasing them toward the end.

Although consonant processes would sound pleasant, too much of consonance can be
boring to the listener. This validates the view that constant change is necessary to avoid
slack and inertia within an organization. Just like too much of dissonance in music, too
many changes can threaten the stability and harmony of a transformation process. Just like
too few dissonance in music, too few changes can be boring and threaten the intended
realization of objective. This music theory concept calls for the balance between the old
and the new to create harmonization during the process.

Particular attention is paid to how dissonances are approached (approach by step is less
jarring, approach by leap more jarring), even more to how they are resolved (almost
always by step), to how they are placed within the meter and rhythm (dissonances on
stronger beats are considered more forceful and those on weaker beats less vital), and to
how they lie within the phrase (dissonances tend to resolve at phrase's end). In short,
dissonance is, conventionally, not used willy-nilly but is used in a very careful, controlled,
and well-circumscribed way. The subtle interplay of different levels of dissonance and
resolution is vital to understanding the tonal and harmonic language of this period.

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It follows that approaching tension steps by steps will prove to be less destructive.
Resolving tension steps by steps is generally more desirable. Nevertheless, just like some
good music approaches and resolves dissonance in a more jarring manner; approach to
organizational change can come from new processes that are complete creative
destruction of the old ones. This applies more often to revolutionary changes. In the same
manner, jarring tension between operational processes in certain aspects might
introduce more resistance than others. Last but not least, such tension in processes is
generally resolved at the end phase.

Within the context of this paper, we are not going deeper into the techniques of
introducing dissonance. Nevertheless, we get to understand that such techniques and more
importantly, musical composers mindset, is very important in designing the tension and
resolution process. Many organizational changes fail in implementation phase because
management fails to introduce inherently conflicting processes in a way that reaches
harmony in the end.

Interestingly, the introduction of processes that implement changes is an important aspect

of organizational change but not mentioned in the classic eight steps of John Kotter. In
fact, organization spends as much time worrying about the implementation of such
processes as establishing the systems and structures or general idea such as vision and
empowerment. I presume that John Kotter overlooks the importance of conceptualizing
the issue, and that harmonizing processes should be highlight as one of the critical steps.

2.2.4 Texture

The fabric or the interplay of music parts is defined as texture. There are several types of
texture. Monophony is a single voice texture. Heterophony is a texture that has two or
more voices that follows the same melody simultaneously and usually with improvisation.
Polyphony is a texture with two or more melodic voices that follows different melodies.
Homophony is a texture with a dominant single melodic voice taking the main melodic
interest, while other parts take a secondary role.

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From the change management perspective, the texture can be visualized as the
interweaving of the main story lines on one dimension and business lines in the other. The
storyline is associated with the aforementioned melody. The business lines can be a single
business line (monophony) or multiple business lines (heterophony). Different business
lines may require different story lines (polyphony). There may be a dominant business line
and other complementary business lines (homophony).

A work of music does not need to exclusively apply one texture or another. It may begin
with a homophonic texture. Then it changes to polyphonic with other independent
melodies emerging. Musical texture is similar to the weave of a fabric. The horizontal
threads are the melodies, and the vertical threads are the harmonies. Through this
interweaving of threads, the texture may be light or heavy, coarse or fine.

Within the context of change management, the framework of the organizations can be
changed over time with the help of texture composition technique. This is the case of
organizational restructuring. The process of which might get assistance from the
compositional technique from music composers. Within the framework of this paper, I will
not go deeper into methods to change texture along the way. But as the concepts and
dynamics of organizational structure and music texture are similar, it is quite certain that
organizational restructurer can learn from music texture in transformation methodology.

Retrograde and inversions are two techniques in composition. Retrograde is when a melody
is heard backwards. Inversion is when the melody is turned upside down, so that the
intervals occur in the opposite direction. Retrograde and inversion can combine, making
the melody upside down and backwards.

In the same manner, many organizational changes revert back to the original state due to
various reasons; among those are lack of cultural change and inertia. The shape or melody
of the process can still be intelligible just like purposeful retrograde and inversions.

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Nevertheless, it is generally not desirable part of the process. In music composition, this is
a planned change. In real world change management, we can consider it the planned
failure likely because of failing to plan.

Augmentation means to slow the melody down comparing to the original. In other words,
augmentation increases the time it takes to play the melody. An example is to use half
notes rather than whole notes to play the same melody. Diminution is the opposite of
augmentation, in which a melody is played faster than the original. An example is to use
quarter notes instead of half notes.

Interestingly, music theory provides the perspective of time management to organizational

change. In this manner, management can manage the time of the melody, and in some
sense, manipulate the timing process. Certainly, such manipulation comes at the expense
of intelligibility of the music. Sometimes, such speed up or slow down does not make
sense, just like the piece of music becomes no longer sensible playing too fast or too slow.
As music and emotion are also related, the speed at which a melody is heard also affect
the emotion of the listener. Too fast or too slow a change process might come at the
expense of emotion and motivation of the people involved.

2.2.5 Timbre

Timber, or color, is one of the basic elements of music. The term describes all aspects of a
musical sound that have nothing to do with length, pitch, or loudness. For example, if a
piano plays a note, and then a guitar plays the same note, with the same length and
loudness, we can still be able distinguish between the two sounds with relative ease. This
is simply because a piano sounds different from a guitar. This difference is in the timbre of
the sounds.

Timbre originates from the fact each musical instrument plays the notes with a complex
wave having more than one frequency. When an instrument produces notes with a specific
and clear pitch, the associated frequencies are part of a harmonic series. The mixture of
frequencies does not create separate sounds, but the color of the sound. The differences
in the balance of frequencies the number heard, the relationship to the main pitch, and
the difference in loudness can create the variety of musical colors.

Timbre refers to the specific nature of each musical instrument that generally cannot be
manipulated using compositional techniques. It is the color of the music. Looking from an
organizational perspective, the culture is also the color of the organization itself. It is the

15
DNA that is embedded in an organization and is hardest to change or manipulated. Just like
the timbre or the nature of the instrument that can self replicate, culture can also
replicate and multiply. To change the culture is like to change the musical instrument. It
takes effort to redesign and it takes time to materialize. Even so, many cultures are
virtually impossible to change. In such circumstance, the way to change is to build a small
unit within the organization with a different culture and let it grow. By analogy, this is no
difference from gradually replacing the instruments used. Though this is not a commonly
used technique in music, the method of manipulation can work in practice. This is to
demonstrate the rigid nature of instrument used and the almost impossibility to change
instruments abruptly without turning the music into virtual chaos.

Another similarity is the many different musical colors mentioned above that are results
of the dimensions of frequencies and pitches, culture can also varies across different
dimension, for example, solidarity and sociality proposed by Goffee and Jones (1998).

In the management change process, the culture establishes the footprint of the change
process. Just like some instruments can play better a certain type of music, the design of
the melody, harmony or texture itself has to take into account the instrument used. In
other words, the composition of the change process has to take into account the culture of
the organization. On the other hand, the design of the culture also should be influenced by
the organization type (vision, processes and complexity) that is being played.

2.2.6 Rhythm

Rhythm is the beat of the music. It is arguably the most important element in music. It is
the gasoline of music, driving the music forward. Rhythm is defined as the timing of the

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sounds and silences. It can also apply to sound as much as visual presentation (e.g. dance
movement), as "timed movement through space."

In his series How Music Works, Howard Goodall theorizes that rhythm reminds us of the
heartbeat we heard in the womb. A simple pulse or di-dah beat reminds of the footsteps of
another person. The urge to dance happens when we need to boost our energy levels to
cope with someone chasing us a fight or flight response. Courtship ritual is also likely the
root of rhythms. From a more purposeful perspective, rhythm originates from the desire to
master the otherwise invisible dimension, time. That is why Langer (1953) said that all
life is rhythmic; under difficult circumstances, its rhythms may become very complex, but
when they are really lost life cannot long endure.

An important phenomenon occurring in and around rhythmic patterns is entrainment

(Rogers, 1994). Christian Huygens formulated the law of entrainment from his observation
that two rhythmic patterns or devices placed in close proximity quickly lock-up: within a
very short time their rhythms become entrained. For example, the menstrual cycles of
women living in close proximity often become synchronized. Ancona (1992) defines
entrainment as the adjustment or moderation of one behavior to synchronize or to be in
rhythm with another. Entrainment can be conscious, subconscious, or instinctive, and
result either in the system becoming entrained or entraining another system. For example,
a top management team may naturally be entrained to the pace of the external
environment, or it may intentionally choose to shift its pace to match the environment, or
it may even try to shift the pace of the environment to better match its own. In
organizational theory, there are generally three types of entrainment. Tempo entrainment
is the entrainment of pace such as factory worker doing their job at the same rate.
Synchronic entrainment is the meshing of rhythm and pace which additionally involves an
evaluation or influencing period. Harmonic entrainment is the meshing of two behaviors as
perceived by observer such as mentor-mentee relationship (Ancona, 1992).

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Just as forms of dance are generally associated with specific forms of rhythms (Atkinson,
2008), the concepts of rhythm and dance are intrexicably linked. Rhythms can provide the
foundation for dancing the management that help position the human body in relation
to the organization and provide a location for the individual a sense of presence (or
being) within the organizational world. In the same manner, rhythms can be the basis for
empowering others to act the vision, the fifth step in a transformation process according
to John Kotter. Through organizational rhythms, the individuals can position themselves
and sense their significance within the environment. Although Atkinson mentions the
concept of presence and significance toward dancing the management, it can and should
be applied to any level of employment within an organization.

Technically, rhythm is defined as an interrelationship between a single, accented strong

beat and either one or two unaccented weak beats (Cooper & Meyer, 1963). An observer
can sense that each rhythm has a beginning, an intent, and a final consummation and that
the last one gives rise to another. Some typical organizational examples of rhythms are
thought, action similar to iambic; plan, prepare, act similar to an anapest; plan, act,
reassess similar to an amphibrach; and act, apologize similar to a trochee (Albert, 2002).

2.1.7 Expressive qualities

Expressive Qualities are those elements in music that create change in music as a result of
the expression that is not related to timbre, pitch, or rhythm. They include Dynamics and
Articulation.

Dynamics is the manipulation of the note or sound to be soft or loud. Another sense of the
concept refers to the execution of events in a given music piece; either stylistic or
functional. Dynamics is also applied when the written or composed musical notation is
used to indicate dynamics.

Articulation is the way in which the music performer applies their own technique to
execute the sounds or notes. It is often descriptive rather than measured. Therefore it is
possible to interpret how to execute each articulation precisely. Often the manner a
performer decides to execute a given articulation is based on the context of the phrase or
piece. Furthermore, the style or type of articulation also depends on the instrument.
Nevertheless, there is a generally standardized set of articulations that almost all
instruments have in common.

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Dynamics and Articulation can be understood as specific method of achieving certain
outcome that is related to the styles of the individuals or the circumstances of the
situation. They can be classified as the flexible implementation factor of transformation
initiatives that depends largely on the individual carrying it out. Looking at these concepts
from the organizational perspective, we should take into account the quality of the
workforce and the nature of the stakeholders. Nevertheless, similar to the recognized set
of articulations that all instruments have in common, there are also common practices that
all organizations can abide to when carrying out certain tasks. This also means that
training and education can be offered to manage this variable part of the project.

As mentioned earlier, John Kotter also established step number five in a transformation
process as empowering others to act on the vision. In other words, he also realizes the
importance of individuals with their apparently expressive qualities in the
transformation process. The establishment of a system that encourages individual risk
taking and traditional ideas, activities and actions is important. In todays volatile world
where only change is constant, GEs CEO Jeff Immelt in a live broadcast at Ross School of
Management in November 2010 also stressed the importance of employee empowerment.
In this respect, music theory also shows common conceptual foundation as the established
theories on transformation effort.

In the next chapter, I will manage to synthesize all the musical elements mentioned into a
concept matching framework between music theory and organizational change, or
organizational theory in general.

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3 A theoretical framework for organizational change

Based on the description and analysis in the previous chapter, I draft a framework that
describes the relation between music theory and organizational theory with specific
perspective on organizational change project.

The framework is proposed as a complement to John Kotters eight steps toward successful
organizational change described below:

If John Kotters framework is empirical, then the music theory framework is theoretical. If
John Kotters framework is horizontal (based on time), then the music theory framework is
vertical (based on concepts). If John Kotters framework is on execution, then the music
theory framework is on analysis and planning. In the next chapter, I will analyze how the
framework can be applied in Pos Malaysia transformation program design and evaluation.

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4 Analysis of Pos Malaysias FOCUS Transformation

In this chapter, I will approach the real world case of Pos Malaysia and analyze the various
issues in transformation process through the lens of theoretical framework
aforementioned. Through the process, I will demonstrate how the practical transformation
process itself resembles a music composition. Each positive feature carries the qualities of
good music, and each problem can be analyzed and improved through the common
technique of musical composition and performance.

4.1 The FOCUS transformation program

On 18th September 2009, the management of Pos Malaysia presented to the board and
gained approval for the FOCUS transformation process with immediate effect. For the
record, a transformation is a type of organizational change. It is a change process that
involves the fundamentals which generally include the alignment of organizational
resources and capabilities to the specific strategy or vision.

The plan consists of 39 initiatives to be completed within 3 years, and required concerted
effort from all stakeholders in order to ensure the successful delivery of each initiatives.
As of this moment, the plan is on the second year and certain accomplishments have been
made.

As the above picture indicates, FOCUS stands for:

Focus on customer needs

Operational excellence
Concentrate on core business

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 Unleash talent and capabilities
Strengthen image

The general idea of the current FOCUS transformation program is to build strong resources
and capabilities focusing on core businesses to strengthen domestic footprint and perhaps
for future international expansion. The lesson Pos Malaysia learned from other postal
operators (TNT, Deutsche Post, Austria Post) is that successful transformation starts with
focusing on domestic core businesses. It is apparent that Pos Malaysia is doing many
businesses that deviate from the core such as logistics, philately, rental, digital
certification and hybrid mail. Therefore, concentrate the core business of mail, courier
and retail is the general spirit of the FOCUS transformation program.

Pos Malaysia has been familiar with organizational change. Before the FOCUS program, Pos
Malaysia has also gone through several transformation phases. In the nineties, Pos Malaysia
transforms its mail processing, operations and delivery with the Modernization program.
From 2003 to 2006, Pos Malaysia initiated several flagship projects that enhanced its
capabilities including the Target Operating Model (TOM), Enterprise Information System
Strategic Plan (EISSP) and Reconfiguration of Mail Operating System Study (REMOSS). Since
transformation is a perfect example of a typical organizational change, analyzing Pos
Malaysias transformation would shed light into understanding the music theory framework
aforementioned.

4.2 Analysis of strategies and implementation

The data for analysis of strategies were derived mainly from the Transformation Booklet of
Pos Malaysia and internal presentation and documentation. The data for analysis of
implementation were gathered from company reports and interview with management
team as project sponsors. The questionnaire was focused on the theme of seven concepts
described in the framework. Interviewers were four different project sponsors and key
stakeholders including a lead consultant directly in charge of the transformation project.
Other practical data were collected from outlet visit, interviewing competitors, and on-
site work with the management team for over five weeks. Understanding of the
transformation process was also done on the job as I was part of the consulting team to
propose internationalization as the next step after transformation.

The strategies and implementation of Pos Malaysia, just like any transformation program,
resemble a music composition and performance. The framework of music theory described

22
in chapter three will be applied with the real data and information collected to analyze
and evaluate from an organizational change program perspective.

4.2.1 Compelling reason

Just like the concept of tonality in music, Pos Malaysia follows the law of return
described in the concept of tonal structure, the central note of the musical performance.
There is a central theme of the transformation process. In other words, there is a
compelling reason to act that gives strong meaning to the transformation program.

As we can see from the graph above, there is a clear sign of diminishing return that drives
Pos Malaysia away from its stable base. It is predicted that Pos Malaysia will register an
operating loss by 2011 if they do not do something. The stock price until the starting date
of the transformation program in September 2009 also deviated from the index
performance of the Kuala Lumpur Composite Index (KLCI).

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That is why the common motto printed in the transformation booklet is We will fail if we
do not act. From a music composer standpoint, the tonal structure is well defined. This is
exactly the same attitude as Meyer (1956) stated regarding the meaning of tonic: Other
things being equal, it is better to return to any starting point whatsoever than not to
return. Pos Malaysia needs to return to previous level of profitability and stock price
performance, or they will fail. That gives a compelling reason that defines the central
theme of the transformation process. Such compelling reason makes the process purposeful
just like having obtained the essence of musical motion following the tonic (Epstein,
1995).

From the transformation booklet, the compelling reason is even articulated by signs of
systematic movement toward instability. The first reason is changing customer need which
becomes more varied than before. The second reason is eroding mail volume as electronic
alternatives become prevalent. The third reason is growing competition in light of industry
deregulation. The fourth reason is rising cost faster than revenue due to higher labor cost
and commodity price. The last main reason is regulatory challenge that imposes many
restrictions on business operations.

In conclusion, the movement toward instability is an arranged and well-articulated pattern

that requires to be dealt with systematically. This is similar to validation of the law of
return toward tonic stability a systematic move. In other words, the reason for movement
toward previous stability level is compelling and purposeful.

Practicality also proves that the compelling reason is really compelling for Pos Malaysia,
since all of project sponsors interviewed expressed the same main argument that

24
transformation is a must in order to maintain profitability. Pos Malaysia management team
does have a strong sense for the tonality of the musical performance. Indeed, the first
question asked regarding the next step as internationalization is also regarding the
compelling reason to do so.

4.2.2 Visions and strategies

If visions and strategies are the melody of the transformation process, then for Pos
Malaysia, it does not yet have a strong shape. Regardless of the amount of text
communicated in transformation booklet that stress on the future image of FOCUS, the
future image of a focused company is not something easily visualized. In fact, the result
of many of the interviews is that the participants can hardly articulate that what FOCUS
stands for even though the each letter of the word is meant to represent a major program.
Therefore, the communicated strategies to achieve FOCUS, no matter how well-
articulated, even makes the vision more complicated as can be seen below.

It is hard to visualize the storyline in the above strategies to achieve the vision. As
mentioned in the previous chapter, in a piece of music, the melody needs to be intelligible
to create a psychological atmosphere of certainty, security, and patent purpose, in which
the listener feels a sense of control and power as well as a sense of specific tendency and
definite direction (Meyer, 1956). In this case, the audience does not have such feeling of
control and direction. That explains why, in another interview, the participant reveals that
the people are weary and tired. Another interview participant noted that even at

25
executive level, it is not certain that the vision is shared by everyone though the plentiful
39 initiatives are communicated by various means: booklet, road show and newsletter.
Given that the booklet is the main communication vehicle that remains in the hand of the
audience, the specific storyline indicated in the booklet is not at all well-shaped.

Even regarding the articulation of the vision, interview participants have diverse views.
One indicates that the vision is to see Pos Malaysia relevant to the public. This is because
postal business used to be the main communication channel a few decades ago. Currently,
with the electronic alternatives and their familiarity with the young generation, postal
business represents only 3% of communication in Malaysia. Another interview participant
indicates that the vision is simply to have Pos Malaysia ranks high in its business with mail
and courier becoming dominant, and retail improved. Another interview participant
indicates, after a very long pause, the vision to be simply making Pos Malaysia a trusted
partner for the customer. You can call yourself partner in many ways but at the end you
want to tell your customer we provide business solutions for you. All of them understand
that whatever it is, Pos Malaysia is cleaning the house. However, cleaning the house is
hardly an articulated vision since it does not indicate to what end. Interestingly, these are
the viewpoint of high level executives, or program sponsors, namely the head of strategic
business units.

Nevertheless, one internal consultant in charge of the transformation process devised quite
well a picture in the mind. He compares Pos Malaysia to a car not very well function, and
expects that at the end of 3 year period, it will become a reliable car that can sustain the
current traffic. Only then can it position well to develop further in its business and perhaps
expand to other roads or functions. Though it is analogously similar to the story created by
articulating the FOCUS program and broken down into the detailed strategies, this image
of a well-functioning car in todays tough traffic condition will surely imprint into the
audiences mind much more effectively. Furthermore, it indicates the clear storyline for
the strategy to achieve the vision. The car is the internal resources and capabilities, and
the new traffic condition is the environment. The implementation of the vision is to build
the right resources and capabilities for the car to sustain the predefined environment. It
indicates what the company has to do and to what end. That is the storyline that will be
sensible and bought in by the audience.

Furthermore, such a simple metaphoric storyline would be shared by everyone whereas

few people can fully visualize the industry specific details of the strategies and industry
specific picture of the future. Furthermore, if the vision is to be shared by all the

26
stakeholders, it is supposed to be easy to understand and communicate. I believe Pos
Malaysia overestimates the comprehension of the audience and create a storyline that is
hard to visualize, let alone to remember. If this is the melody of a song, then it is by no
means intelligible nor providing a psychologically certain sense of direction. Therefore, it
is important to build a good storyline is to have a strongly shaped melody for the musical
performance.

To stress further its importance, as mentioned in the theoretical chapter, the vision needs
to be understood if the people are to be empowered. That is why even the executive staff
at Pos Malaysia does not feel empowered, let alone the lower level staff. If this is to be
resolved, Pos Malaysia needs to redefine the storyline so it could be intelligible and
empowering to the people from the lowest level of the organization.

4.2.3 Processes

The change process implementation is the fundamental behind any transformation

program. The FOCUS transformation program is no exception. It is similar to the
introduction of dissonance process either step by step or through leap. As mentioned in
previous chapter, there is no surprise when introduction of new processes through step by
step is smoother and generally less disruptive than introduction through leap.

One step by step introduction is the post office look and feel program. Such improvement
cannot change the face of Pos Malaysia over night in every outlet in the country.
Furthermore, in order for a harmonious transition process, there is no point in making a
disruptive introduction which involves massive financial and human resource commitment.
It is not more beneficial than a step by step change, and yet cost much more. Therefore, a
step by step introduction is preferred. Pos Malaysia did show initial success in the program
and implement the step by step change effectively. The visit to the Pos Malaysia post
office center downstairs at headquarter Menara Dayabumi does form a good proof.

Nevertheless, some processes are creative destruction and need an overnight change. In
musical dissonance introduction term, it is called a leap approach. Example is a small
failure with the introduction of automatic sorting machine. In such cases, a step by step
improvement does not make sense because it will only foster the inertia of organization
toward change. However, Pos Malaysia should be aware of the jarring nature of such
leap approach toward dissonance processes. It is reported that the automatic sorting
machine does not work at full capacity as it is supposed to. Employees in the sorting

27
center are used to have break time and lunches while sorting mail manually. With the
introduction of automation, they do not coordinate shift so that the sorting machine can
still be working during lunch time. The sorting machine, therefore, remained idle during
the break time.

Pos Malaysia attributes this factor to working culture of a government-linked company. But
if it is the issue of working culture, then it should be predicted and, to some extent,
accepted. Pos Malaysia should not get surprised or disturbed by working culture attribute.
The truth is in the similarity to music theory. A leap introduction will sound jarring.
Though working culture is part of the reason, it is something predictable and should not
cause surprise. The surprise by management of the company comes from the nature of
disruptive introduction and they should deal with it the way they deal with disruptive
introduction, not by blaming on the hard to change working culture. This issue, in fact, can
and will be change through time after the jarring period is over.

A similar example is a success story with the mail tariff increase. Pos Malaysia has not
introduced tariff increase for a decade or so. Therefore, a disruptive increase in tariff
brought about immediate success. Profitability is expected to jump for 2010. Though it
fulfills the requirement of a quick win that is demanded from a change management
process, this is by no means indicated to be a glorious milestone of the whole
transformation process. This is just another jarring sign of a disruptive dissonance that
breaks the boring decade long consonance. Therefore, the pleasant nature of such success
is due to the leap introduction of tariff increase, and not the inherent resources or
capability milestone improvement of Pos Malaysia.

Within the scope of this paper, I would not go deeper into the analysis of approach to
dissonance. However, it is a promising approach to see how musician uses technique to
introduce dissonance through leap or step by step in different circumstance. By nature of
harmony that applies universally in scientific processes, it is quite certain that such
methods of achieving harmony when introducing changes could be apply to human
organization. Given more time and resources, it will be the next step in analysis of music
theory on organizational change.

28
 4.2.4 Structure and System

Below is the texture of the FOCUS transformation program with business lines on the
verticals and story line on the horizontal. Inside the framework are the corresponding
initiatives to be implemented.

Regardless of different perception regarding the storyline, the framework of FOCUS

transformation process of Pos Malaysia resembles a heterophonic texture with one single
storyline for all three business lines. Combining the spirit of focusing on core business, the
storyline should be as the lead consultant visualized. To repeat, it is to create a well-
functioning vehicle with a strong management system and powerful main functions to
sustain the contemporary harsh traffic conditions. Based on the texture image below, the
management system is the corporate operation and the main functions are mail, courier
and retail. These are the main vertical dimension, or the lead processes that compose
harmony for the transformation process.

To validate the heterophonic texture, all three main business lines share the same
storyline of:

Focusing on customers need

Operational excellence

29
 Concentrate on core business

while the corporate function fosters that storyline with functions of:

Unleasing talent capabilities

Strengthen image

which stresses on the fuel of the engine as human resource capabilities and the image as
the communication channel to the public stakeholders.

In this respect, the texture of the transformation process helps us understand the melody
better. Furthermore, seeing the texture should help Pos Malaysia have a clear conceptual
view to communicate and enact on one common vision in the same way a musician is
playing a heterophony. With multiple business units, it is more complex to visualize a clear
vision. That explains why many different interview participants have different view of the
vision. Pos Malaysia should realize the requirement communicate vision more clearly just
like the challenge to play the melody in a heterophonic musical performance.

Precise technique of heterophony music composition and performance could be applied

here to strengthen the case of music theory on organizational change project. And again,
since music is as natural as a business organism, the heterophony dynamics of music should
well simulate the nature of business with similar complexity and dynamics. Nevertheless,
within the scope of this paper, I will not go deeper into the issue. This will be the next
step in deep diving into music theory relating to organizational change.

4.2.5 Culture

Just like mentioned in the previous chapter, the culture of a company is like the musical
instrument used. As the DNA of the organization, culture is hardest to change and, at the
same time, embedded in everything the company do. The same analogy applies to the
musical instrument that defines the music regardless of other musical factors such as
melody, harmony or texture.

Pos Malaysia has a predominant Muslim workforce. This seems to be the common
characteristic of Malaysian government linked commpanies. Pos Malaysia has over 90%
Muslims whereas a standard bank has only 50% or less. Malaysian Muslims seem to have a
more laidback attitude toward work and life. The religion is said to promote an easy
approach to life because Alah will take care of everything. The months of festing and open

30
house reduce operating effectiveness down to 80%. Moreover, the working culture of
Malaysia is dominated by holidays to satisfy many different culture. All these factors
create a laid back working culture of Pos Malaysia. It is common to see people not coming
to work for various reasons such as sick family member or personal problems. Pos
Malaysian employees are said to have the culture of applying taichi toward
responsibility. One can easily taichi the work to the other to avoid accountability. To
compile the information needed, one might have to call all the people in the department
because each will only be accountable to his portion of the task. One representative
statistic of the attitude toward achieving in life is that Muslims in Malaysia comprises
approximately 60% of population but only 20% of wealth.

If the transformation process of Pos Malaysia is a piece of music, then the instrument used,
regardless of the culturally specific nature, seems to be lousy and ineffectively slow. One
way to make it more effective is to introducing strong rhythm beats into the music. If the
piece of music has strong rhythm beat, the pace will follow the rhythms regardless of
instrument used. In this manner, the instrument is forced to play the rhythm.

Looking it from the working culture perspective, one way to influence the force of culture
is to introduce entrainment into the organizational activities, just like to introduce rhythm
beats into the music. Some organizational scholars might claim that culture is hardest to
change and not enforceable from top down. Regardless, we have seen companies like GE
forcing culture to adapt from top down. Jack Welch introduces gender diversity into the
company by a simple rule that demands a top female candidate for every open position. He
also enforced stretch program and motivated everyone to implement stretching goals to
the limit. When the whole company works with the same rhythm and entrained in the
same activities, culture matter much less. The culture of GE does not seem to totally
convert to gender diversity, or goal stretch after these programs. But the effect is much
like desired. Therefore, we attribute the diversity attitude and stretch to entrainment, or
rhythms forced from top down. This is the force of the musical composer that makes the
whole piece of music works regardless of the instrument. Jack Welch is in effect the music
director of the GE complex musical performance.

To return to the case of Pos Malaysia, the company could overcome the laid back and
ineffective working culture by introducing heart beat into the organization just like
rhythms influence the music regardless of instrument used. Common entrainment programs
will force people to dance along the same rhythms. The herd behavior along a rhythmic
pattern will win over the laid back culture in the short term. Implement gradually and

31
continuously, the movement of the company might become so entrained that the culture
and mindset of laid back Muslims will no longer matter. All that mater is the top down
enforcement of rhythms just like the music moderator influencing the performance. In the
case of GE, Jack Welch is stronger than the culture, though it is arguable that he does not
practically change the culture.

Another technique less used in music but sensible is the slow change of instrument used.
Regardless of its used in real life, it is by common sense that we can see how abrupt
change of instrument for the same musical performance is disturbing to the ears. But a
slow change of instrument for the same piece of music might sound more pleasant. A
comparative technique to change the culture is to build a small organization within the
company and slowly let it grow. Pos Malaysia already has a courier company called Asia
Express, created with the international expansion intention. It might be persuasive to say
that Pos Malaysia can expand Asia Express through time and perhaps take over the whole
courier business of PosLaju together with international expansion capabilities. This is
especially agreeable since there is little chance the local name brand PosLaju will sound
attractive internationally. If Pos Malaysia has to go regional, then now is the right time to
start promoting and developing the brand Asia Express.

One other thing to note is that the melody, which is the horizontal aspect of music does
not have strong influence toward the timbre. This is true in organizational setting as well.
A good storyline or vision does not make much difference in different organizational
culture. The vertical aspect of music does a better job. More consonant or dissonance
might prove to be different when matching with the timbre. A general assumption is that
low quality instrument might sound better with less dissonance whereas high quality
instrument might be able to handle the unpleasant sound of dissonance.

4.2.6 Entrainment

Entrainment is useful in any organizational setting and particularly useful in change

management project. This is because change usually need more pace than a normal
organizational operational process. This is in line with John Kotter theory of organizational
change that a sense of urgency is needed. Through the lens of music theory, I propose that
such sense of urgency must be applied together with strong organizational rhythm, or
entrainment. In essense, the urgency itself should be created by strong rhythms, since
urgency without rhythms might create chaos. It is not unfamiliar for an organization

32
implementing change program that ends up in chaos because of high sense of urgency and
low level of coordination.

In the case of Pos Malaysia, a sense of urgency cannot be created just by communication or
propaganda. The truth revealed by interview participant is that the people are weary of
change. Too many initiatives tires them out because there are actually additional
departmental initiatives other than the 39 main ones. In fact, the sense of urgency may
only be created by strong rhythms. Luckily, Pos Malaysia does partially undersand and
apply the importance of rhythms without the need for a music theory education. Weekly
meeting of each project leaders and monthly meeting of the steering committee does
create a pace that everyone has to follow. Nevertheless, more operational rhythms is
needed in order to make Pos Malaysia a real engine for change and not just for endless
meetings. Rhythms as monotonous as meetings may bring about tiresome and boredom for
the people involved.

As indicated in the previous chapter, there are many form of rhythmic entrainment such as
tempo, harmony and synchronic. Application of such entrainment process creatively will
improve the operation of the engine and make the internal processes more efficient.
Within the scope of this paper, I would not go into details of the how. This will be an
opportunity for further research on entrainment which are already widely available in the
current literature.

4.2.7 Empowerment

Interestingly, there are up to 39 initiatives for Pos Malaysia transformation period. The
reason behind it is micro-management. Every initiative is taken care of by the CEO. The
CEO is the main driver of the change process and he oversees into the detail of these 39
initiatives. He may not even remember all the initiatives, but without his detailed
involvement, these initiatives would not move at all. It is said by one interview
participants that if the CEO leaves the company, the whole transformation process would
come to a complete stop.

The truth is that Pos Malaysia is not able to have employee empowerment in this
transformation process. Every employees need approval from the CEO for every action
taken. Some are not capable of making minor decisions. Some are able to make these
decisions but want to avoid accountability. Only very few are active enough to drive

33
changes. Many high level staff are not even proactive enough to voice their opinion even if
they have one. Many would not be raising problem even if they know there is a problem.

From the musical composition standpoint, there is virtually no expressive qualities.

Employees individual performance is totally regulated by the CEO himself. There virtually
exists no room for individual initiatives. From John Kotters eight steps of transformation
process, step number five is totally missing. Employees are virtually not empowered
except for some selected few. This is similar to the musical performance where there is no
expressive involvement from the performer. A piece of music is a piece of music, and
there is no more to it. The only player is virtually the composer himself and there is no
value addition from elsewhere.

The transformation process would be much more effective, and the change mentality
would become permanent if everyone is involved. If the freedom to participate is not
taken, then the composer is the only player. The transformation process will be just a
blueprint played by the CEO. One person is in charge of everything means a total slow
down and high level of operational risk. The question that Pos Malaysia would ask itself is
if the music is played by one person and the whole opera stays idle, would it become a
masterpiece. And would the melody become part of the life of the performance, or it is
just a storyline running in the CEOs head and never transfering to the organization itself.

34
5 Conclusion

The framework outlined and its application to the case of Pos Malaysia is by no means a
definite answer to the planning of organizational changes. There are a plentiful of other
music theory concepts that can be added to the framework such as pitch, allocation and
cadence. Furthermore, there are many techniques in music that can be applied to
organizational situations under the foundation of concept matching described. However,
this paper is not to demonstrate a full application of music theory to organizational
change. It is just to demonstrate the convincing possibility to apply musical composition
and performance in the composition and performance of organizational change projects.

5.1 Limitation

Though the extent of music theory is as vast as organizational theory (Albert, 2002), there
are limitation to the use of music theory in organization. It is still early to draft the exact
boundary conditions that define the applicability of music theory into organizational
theory. Secondly, although music theory applies to music of any length, the real musical
performance usually has a length limit. We, therefore, may not reasonably compose and
perform the life of an organization with music theory.

There may be detail critics of the application of music theory aforementioned. It may not
apply to every organizational situation or dynamics. However, it is more important to
have beauty in ones equations than to have them fit [all] experiments (Dirac, 1963:47).

5.2 Future research

Many avenues for future research have been described in the body of this paper. It is quite
possible to derive the length of a book publication if we exploits music theory in its
totality. Special focus might be in the dynamics relation between each music concepts and
the technique to exploit these dynamics. Although such techniques may already been
implemented in organization, they probably still remain as best practices rather than
theoretical concepts. Music theory and concepts may resolve the issue and bring clarity
into organizational theory. Another avenue for further research might be the emotion
element of music that can apply directly to the emotion of the organizational change
project. Lastly, we should not neglect the possibility that organizational theory, in turn,
can be applied and improve music theory.

35
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