1. The length of the summary for each article should be between 15-30 lines (single-spaced, Times New Roman, 12-point font, 1-inch margins). Please use a space between the paragraphs.
2. Please make sure to separate each article and case by the title of the article or case in bold format.
3.The length of the case answer for each question should be between 10-30 lines (single-spaced, Times New Roman, 12-point font, 1-inch margins). Please note that for some questions you need to draw a table and use bullet points. You need to submit the case questions along with the article summary in one document. You can use outside sources to answer case questions, but make sure to paraphrase and have references in the text and at the end of the document. Please write the original question and use a space between the paragraphs.
Article(1): orter, M. E. (2001). The value chain and competitive advantage. Understanding business processes, Chapter 5, pp. 50-59.
Article(2): MacMillan, I. C., & McGrath, R. G. 1997. Discovering new points of differentiation. Harvard Business Review, 75, 133-145.
Case(1): Ducati
Case questions:
In the last ten years, how has Ducati created and captured value? Conduct an internal analysis of the turnaround period (1996-2001) using the value chain model
Analyze the capabilities of Ducati.
Case(2): A Maestro without borders
Case questions:
Is the classical music industry attractive? If you were head of an orchestra set on beating the competition, what strategic options could you have? What would be the likely results?
What is the key logic underlying Rieu’s business success?
Despite his impressive achievements over the years, André Rieu suffered a financial downfall at one point in his career, as described in the case. Seen from a blue ocean strategy perspective, what did he do wrong there?IN1380
A Maestro without Borders:
How André Rieu Created the Classical
Music Market for the Masses
08/2017-6304
This case was written by Mi Ji, Institute Senior Executive Fellow of the INSEAD Blue Ocean Strategy Institute, under
the supervision of W. Chan Kim and Renée Mauborgne, Professors of Strategy at INSEAD. It is intended to be used as
a basis for class discussion rather than to illustrate either effective or ineffective handling of an administrative
situation.
Additional material about INSEAD case studies (e.g., videos, spreadsheets, links) can be accessed at
cases.insead.edu.
Copyright © 2017 INSEAD
COPIES MAY NOT BE MADE WITHOUT PERMISSION. NO PART OF THIS PUBLICATION MAY BE COPIED, STORED, TRANSMITTED, REPRODUCED OR DISTRIBUTED
IN ANY FORM OR MEDIUM WHATSOEVER WITHOUT THE PERMISSION OF THE COPYRIGHT OWNER.
For the exclusive use of S. Wang, 2023.
This document is authorized for use only by Si Yu Wang in BUS 690-Winter 2023 taught by Manely Sharifian, San Francisco State University from Dec 2022 to Jun 2023.
Copyright © INSEAD 1
“Classical music today is in deep trouble. It is not clear whether we can do more
than bear witness…”
Samuel Lipman, pianist and music critic1
“…[Audiences] are aging, and the collapse of arts education in the public schools
makes it difficult to find new listeners among a younger, more ethnically diverse
urban population. The repertory has grown stuffy and predictable, and daring
ventures tend to alienate old, reliable subscribers. Finances are shaky in all the
arts, but orchestras . . . are particularly vulnerable.”
Schwarz, K. Robert, New York Times2
In the past few decades, pessimism about the viability of classical music as reflected in the
above quotes has been growing. “Classical music is dying.” “There is no money, no interest,
no relevance.” “It’s about dead composers and a dying audience…there is no coming back
from it.” These are the observations and comments we often see in newspapers about classical
music.3 Average music listeners are not enthusiastic about their classical music experience
either, as they often feel bored, intimidated and frustrated by the stuffy atmosphere, the
pompous etiquette, the elitist repertoire and the impersonal rendition of music at classical
orchestral concerts.4 All this seems to suggest a bleak future for the classical music industry.
Classical Music: A Dying Industry with No Future?
As a form of art, classical music has been accorded a high place. But it is a known fact that its
market is shrinking and its influence waning among the mass population. It is now viewed as
an endangered species that relies increasingly on external support for its financial viability.
1 Samuel Lipman, Music and More: Essays 1975-1991. Evanston: Northwestern University Press, 1992, p25.
2 Robert K. Schwarz, “The Crisis of Tomorrow are Here Today,” New York Times, October 31, “This case was prepared by Jordan Mitchell, Research Assistant, under the supervision of Professor
Bruno Cassiman as the basis for class discussion rather than to illustrate either effective or
ineffective handling of an administrative situation. November 2006.
Copyright © 2006, IESE. To order copies or request permission to reproduce materials, call IESE PUBLISHING
34 932 534 200, send a fax to 34 932 534 343, or write Juan de Alós, 43 – 08034 Barcelona, Spain, or
[email protected]
No part of this publication may be reproduced, stored in a retrieval system, used in a spreadsheet, or
transmitted in any form or by any means – electronic, mechanical, photocopying, recording, or otherwise –
without the permission of IESE.
Last edited: 11/17/06
1
DG-1507-E
0-306-074
Ducati: In Pursuit of Magic (A)
On the first business day of January 2006, Federico Minoli pulled up and
parked his Ducati Multistrada motorcycle in front of the Ducati
headquarters in Bologna, Italy. As he looked up at the complex, which
housed offices, the assembly factory and the Ducati museum, he reflected
back on the company’s history. 2006 would mark several anniversaries: 80
years since Ducati was established to produce electronic radio equipment;
60 years since Ducati had been producing motorcycles; and ten years since
Minoli had become the company’s CEO. Minoli joined the then near
bankrupt Ducati in 1996, and led its turnaround by creating the “World of
Ducati,” a world that involved superior engineering, Italian heritage, slick
design and an undeniable attraction for racing enthusiasts to “join the tribe”
and become “Ducatisti.” Revenues moved from €95 million to €380 million
from 1996 to 2000. EBITDA improved from a loss to €60 million in the
same period. However, in the five subsequent years, business results stalled:
revenues fell 2.3 percent on a compound annual growth rate from 2000 to
2005, and EBITDA fell to -€273,000 at the close of 2005.
IES168
For the exclusive use of S. Wang, 2023.
This document is authorized for use only by Si Yu Wang in BUS 690-Winter 2023 taught by Manely Sharifian, San Francisco State University from Dec 2022 to Jun 2023.
2 IESE Business School-University of Navarra
DG-1507-E Ducati: In Pursuit of Magic (A)
In late 2005, an agreement was signed by shareholder Texas Pacific Group to sell its 30
percent stake in Ducati to InvestIndustrial Holdings SA and a syndicate of other
investors, with the understanding that Ducati would pursue a capital increase of €80
million. Minoli was certain that the new shareholders would demand certain changes
to cut costs and get the company’s growth back on track. In selling the concept of the
capital increase to the shareholder base, he would need to articulate a plan that would
address the immediate financial concerns as well as longer-term strategic
considerations. Minoli stated:
“We had a very successful turnaround from 1996 to 2001. The isDiscovering New Points
of Differentiation
by Ian C. MacMillan and Rita Gunther McGrath
Reprint 97408
Harvard Business Review
For the exclusive use of S. Wang, 2023.
This document is authorized for use only by Si Yu Wang in BUS 690-Winter 2023 taught by Manely Sharifian, San Francisco State University from Dec 2022 to Jun 2023.
JULY-AUGUST 1997
Reprint Number
HarvardBusinessReview
W. CHAN KIM AND RENEE MAUBORGNE FAIR PROCESS: MANAGING IN THE KNOWLEDGE ECONOMY 97405
KATHLEEN M. EISENHARDT, JEAN L. HOW MANAGEMENT TEAMS CAN HAVE A GOOD FIGHT 97402
KAHWAJY, AND L.J. BOURGEOIS III
MICHAEL VAN BIEMA AND MANAGING OUR WAY TO HIGHER
BRUCE GREENWALD SERVICE-SECTOR PRODUCTIVITY 97410
WILLIAM A. SAHLMAN HOW TO WRITE A GREAT BUSINESS PLAN 97409
DOROTHY LEONARD AND PUTTING YOUR COMPANY’S WHOLE BRAIN TO WORK 97407
SUSAAN STRAUS
PAUL KRUGMAN HOW FAST CAN THE U.S. ECONOMY GROW? 97406
GORDON ADLER HBR CASE STUDY
WHEN YOUR STAR PERFORMER CAN’T MANAGE 97401
TARUN KHANNA AND WORLD VIEW
KRISHNA PALEPU WHY FOCUSED STRATEGIES MAY BE WRONG FOR
EMERGING MARKETS 97404
RYUZABURO KAKU THINKING ABOUT…
THE PATH OF KYOSEI 97403
IAN C. MACMILLAN AND MANAGER’S TOOL KIT
RITA GUNTHER MCGRATH DISCOVERING NEW POINTS OF DIFFERENTIATION 97408
ALEXANDRA WYKE BOOKS IN REVIEW
CAN PATIENTS DRIVE THE FUTURE OF HEALTH CARE? 97411
For the exclusive use of S. Wang, 2023.
This document is authorized for use only by Si Yu Wang in BUS 690-Winter 2023 taught by Manely Sharifian, San Francisco State University from Dec 2022 to Jun 2023.
Most profitable strategies are built
on differentiation: offering cus-
tomers something they value that
competitors don’t have. But most
companies, in seeking to differenti-
ate themselves, focus their energy
only on their products or services. In
fact, a company has the opportunity
to differentiate itself at every point
where it comes in contact with its
customers – from the moment cus-
tomers realize that they need a prod-
uct or service to the time when they
no longer want it and decide to dis-
pose of it. We believe that if compa-
nies open up their creative thinking
to their customers’ entire experience
with a product or service – what we
call the consumption chain – they
can uncover opportunities to posi-
tion their offerings in ways that
they, and their competitors, would
never have thought possible.
Take the case of Blyth Industries,
a candle manufacturer. By differenti-
ating and redifferentiating its prod-
ucts, Blyth has been able to grow
from a $2 million U.S. producer of
candles used for religious purposes
to a global candle and accessory
business with nearly $500 million in
sales and a market value of $1.2 bil-
lion. Not bad for a company in an in-
dustry that, as CEO Robert B. Goer-
gen says, “has been in decline for
300 years.” Blyth’s story is, quite
simply, a manifestation of the power
of strategic differentiation.
Business history is full of stories
of entrepreneurs who stumbled
upon a great idea that then became
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