Core Competencies of Leaders and Managers in Healthcare Settings

 

“Those organizations that provide care directly to a patient, resident or client who seeks services from the organization” (Buchbinder & Thompson, 2010, pp. 33–34).

Non–direct care settings [noun]
Organizations “not directly involved in providing care to persons needing health services, but rather support the care of individuals through products and services made available to direct care settings” (Buchbinder & Shanks, 2019, pp. 1–2).

One of the many differentiators in terms of healthcare leadership is setting. Healthcare leaders and managers may choose to work in settings that provide direct services, such as a hospital or clinic—or nondirect services—such as a community health foundation. Why might healthcare professionals choose to work in one path over another? And what particular characteristics, roles, and functions are needed to successfully manage one type of setting over another?

Complete the readings in your Learning Resources.
Review the profiles of the various healthcare managers who work in a healthcare setting in this week’s Required Media. (Click on the organizational charts to learn more about the healthcare professionals in direct, nondirect, and physician practice settings.
References:
Buchbinder, S. B., & Thompson, J. M. (2010). Career opportunities in health care management: Perspectives from the field. Sudbury, MA: Jones and Bartlett.

BY DAY 4
Post a comprehensive response to the following:

Explain the roles and functions of healthcare managers and leaders in direct and nondirect service healthcare settings.
Select one individual from a direct care setting and one individual from a nondirect setting in either the Welcome to Waldenville or the Good Samaritan Hospital’s Organization Chart—Week 1 media, and describe their core competencies.
How are these core competencies of the featured leaders similar and different?
In which setting would you prefer to work, and why?

 

Sample Solution

of the Communist Party. The cultural movement at the time was toward nationalism.  Social realism was applied to the music of this era. Music was to express the labor and success of the worker through traditional Russian and Soviet songs. Simplicity was to be an element in the compositional style.  Stalin and the Party were to be glorified through appropriate nationalistic themes.  These facts are all important when considering the elements found in Shostakovich’s Symphony No. 5 and No.7.

The Fifth Symphony was written in response to events that were occurring in the Soviet Union under Stalin.  It was necessary to have music the approval of the Party officials and Stalin in order to survive.  He was adapting to pressure to compose less complicated music that would fit into the styles acceptable to social realism yet he needed to stay true to his beliefs.  Due to the political atmosphere of the time Shostakovich could not express his opinions, ideas, or views openly if they were contrary to the party line. At this time, the Great Purge or Great Terror was taking place during Stalin’s reign where he eliminated anyone not loyal to his ideals. The party had disapproved of Shostakovich’s previous musical compositions as too technical or harsh. The opera Lady Macbeth of the Mtsensk District which was performed in 1934 was at first well received.  However, when Stalin attended the opera, he found the themes and music “pre-socialist, petty-bourgeois, Russian mentality”  and not in line with appropriate Communist views.  The official state-run newspaper Pravda gave the opera a poor review.  In addition, several editorials were disparaging concerning the opera. Thus, Shostakovich got the message to project the party line through his music. The individual was not important. The choice was to comply or become invisible.  In addition during this time, many of Shostakovich’s friends and relatives had been arrested or sent to the Gulag, or just disappeared. He was afraid that he might suffer the same fate. Shostakovich had to develop a style that would be acceptable to the party yet discretely portray his musical views and expressions. The Fifth Symphony was to be an example of his political transformation on display to the party conforming to the style of heroic classicism.

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