Social media, the Internet, and mobile technology are considered to be key to connecting, interacting, and building relationships between Millennials and arts organizations. Read more of my research on engaging Millennial generation audiences and donors in my latest blog post. Continue reading
“The Millennials’ Orchestra” series of blog posts are not meant to be opinion pieces, but rather founded in research, which I gathered and reported as part of my graduate capstone project from 2012-2013. This is a personal blog and does not represent the views or opinions of my employer.
The Millennials’ Orchestra: Competing for Attention
Orchestras and New Media, a report by arts marketer Marc van Bree, discusses the rapid
evolution of technology in contemporary society and the implications for Millennial engagement with symphony orchestras.122 From company brands and magazines to radio, TV, and websites, 21st century populations are exposed to a great complexity media with ever-increasing frequency.123 Contrary to the idea that Millennials are using and communicating through technology in place of one-on-one interaction, instead Millennials use technology and new media channels to enhance their social experiences.124 Social media networks are inherently interactive and can become powerful marketing and engagement tools for attracting this “always connected generation”125 to the work of symphony orchestras.126 As the graph illustrates below, the likelihood of online engagement with Millennial audiences is considerably greater when compared to audiences from older age cohorts.127
Audience Insight LLC, Classical Music Consumer Segmentation Study:
Note: The electronic media measurement of participation in those activities includes all dance, and not just ballet. Visual arts participation includes those who either observed programs about artworks, artists, or museums through electronic media and/or who viewed artworks online.128
122 Marc van Bree, “Orchestras and New Media: A Complete Guide,” 56, 2009.
125 Pew Research Center, 2010, “Millennials: Confident-Connected-Open to Change.”
127 Alan Brown (Project Director), “Classical Music Consumer Segmentation Study.”
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With so much competition for our attention with mobile devices, social media, and online entertainment and information, orchestras are smartly starting to incorporate these tools and channels into the way they communicate and engage with their audiences. As a continuation of this discussion, my next blog post will focus on inter-connectivity of Millennials through technology and new media channels and how some nonprofit arts organizations, orchestras included, are integrating these modes of communication and interaction into their practices and performances.
Have you interacted with an orchestra that encouraged the use of mobile apps or social media? What was your experience?
“The Millennials’ Orchestra” series of blog posts are not meant to be opinion pieces, but rather founded in research, which I gathered and reported as part of my graduate Capstone project from 2012-2013. This is a personal blog and does not represent the views or opinions of my employer.
The Millennials’ Orchestra: Defining A Contemporary Generation
Millennial Engagement with U.S. Symphony Orchestras
Members of the Millennial generation are noticeably lacking in the audiences of symphony orchestra concert halls. Based on my research and personal experiences, I believe that developing a better understanding of the Millennial generation, and working to identify and establish effective marketing and development strategies tailored to their preferences and needs, may lend to greater success and stability for U.S. symphony orchestras in the 21st century. The literature review to follow addresses some of the pressing issues facing symphony orchestras in the U.S., provides insight into the Millennial generation mindset and behaviors, shares examples of innovative programming and forward-thinking adaptations, and reinforces the importance of Millennial engagement. First, however, it is important to consider how the term “Millennial” is commonly referred to and understood from various points of view.
An Important Note on Terminology
Researchers often refer to the Millennial generation in a variety of ways and use these terms somewhat interchangeably (e.g. Millennials, Millennial generation, Generation Y, Generation Next, NextGen, and younga(er) people/population/cohorts). Characteristics of a specific generation (Millennial), therefore, are often conflated with the more general age category (young). Each generation exhibits characteristics and behavior shaped by the prevalent attitudes, expectations, and events of the time. The Boston Consulting Group, for example, has identified six different groups of Millennials based on consumer behavior. Listed in descending order of prevalence, these segments include: Hip-ennial (29%), Millennial Mom (22%), Anti-Millennial (16%), Gadget Guru (13%), Clean and Green Millennial (10%), and Old-School Millennial (10%). Future generations of young people may or may not display the same characteristics associated with present-day Millennials.
Inconsistency also exists in defining age ranges of the Millennial generation. While similar, the minimum and maximum boundaries of age tend to vary from source to source. According to the Case Foundation, for example, Millennials are “people born between 1978 and 1993, or individuals who are currently 15 to 29 years old,” while members of the Boston Consulting Group consider them as individuals “aged 16 to 34.” JiWire researchers, specializing in “mobile audience insights,” consider Millennials to be “American consumers between ages 18 and 34.” Achieve’s Millennial Impact Report 2012 focuses on young adults between the ages of 20 and 35. Finally, Pew Research Center’s Millennials: A Portrait of Generation Next, and corresponding report Millennials: Confident. Connected. Open to Change., define Millennials as young adults, ages 18 to 29.
Defining a generation solely based on age quickly becomes irrelevant as time passes – what is true at the time would not hold true in the following year. It is more easily and consistently understood as a range of birth years. The figure below is a comparison the five most recent generations by age (as of 2011) and by birth year. The original version of this age timeline can be found on the Pew Research Center website as an interactive graphic.
Pew Research Center: A Portrait of Five Generations
The Pew Research Center’s 2010 report, “Millennials: Confident. Connected. Open to Change.,” is based on information collected during a two-week survey in January 2010, involving more than 2,000 adults across the country. Millennials accounted for 830 of the total 2,020 sample group, enabling a more detailed analysis of Millennial attitudes. Additional Pew Research Center survey findings supplement the 2010 report, including the 2009 survey on changing attitudes toward work (Oct. 21-25, 2009 with 1,028 respondents, 18+ years old) and generational differences (July 20-Aug. 2, 2009 with 1,815 people nationally, 16+ years old). Surveys from their ongoing Internet & American Life Project provide supporting social and demographic information for the chapter on technology.
Given the large sample size, national scope of the research, and multidimensional approach, one would expect Pew Research Center’s understanding of the Millennial generation to be highly credible and reliable. Contributing to the larger report series – Millennials: A Portrait of Generation Next – the Pew Research Center’s 2010 report looks at the values, attitudes and experiences of America’s next generation: the Millennials.” It has been my mission to discover how Millennials value, perceive, and prefer to experience classical music performed by symphony orchestras in the United States.
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Coming soon…a look at the issues facing U.S. symphony orchestras and some of the factors influencing Millennial participation.
 Greg Sandow. “Building a Young Audience (Proof of Culture Change).”
 Boston Consulting Group and Barkley and Service Management Group, “The Millennial Consumer: Debunking Stereotypes.” In BCG Perspectives: Boston Consulting Group, 2012.
 Michelle Lamar, 2012, New Research: 6 Distinct Segments of Millennials Identified, Social Media Today, retrieved from socialmediatoday website: http://socialmediatoday.com/michellelamarspiral16/490841/new-research-6-distinct-segments-millennials-identified.
 Alison Fine, “Social Citizens BETA,” Case Foundation, 2008.
 Sonia Paul, 2012, Millennial Consumers: Engaged, Optimistic, Charitable (STUDY), in Mashable Business.
 JiWire, 2012, Mobile Audience Insights Report, Q2 2012.
 Lauren Indvik, 2011, How the Millennial Generation Uses Mobile (INFOGRAPHIC), Mashable Tech, http://mashable.com/2011/10/13/millenials-mobile-infographic/.
 Achieve and Johnson, Grossnickle and Associates (JGA), “The Millennial Impact Report 2012.”
 Pew Research Center, “Millennials: Confident-Connected-Open to Change.”
 Pew Research Center, “Interactive: A Portrait of Five Generations,” http://www.pewsocialtrends.org/2010/02/24/interactive-graphic-demographic-portrait-of-four-generations/.
 Pew Research Center, 2010, “Millennials: Confident-Connected-Open to Change.”
 Ibid, “About the Report,” i.
 Pew Research Center, 2010, “Millennials: Confident-Connected-Open to Change.”
We have been hearing a lot lately about why and how songs get stuck in our head. Well, Beethoven’s 5th Symphony contains four of the stickiest notes ever composed – the famous short-short-short-long motif. This has been getting stuck in the heads of audiences all over the world for more than 200 years. Google Chrome has taken a Classical music approach to their new ad campaign – Google: Now Everywhere – featuring this recognizable motif.
Google Chrome is known for their creativity and bold, primary colors kind of personality. Listen to Google’s brand conveyed through the power of Beethoven’s 5th.
Google has also leveraged the energizing, recognizable music of the William Tell Overture (from the Romantic era) in their new commercial – Chromebook: For Everyday.
With Lady Gaga and Carly Rae Jepsen’s catchy tunes floating across the airwaves, and never leaving our heads, scientists in the UK wanted to know more about why this happens and how to override the stickiness factor. ABC NEWS recently reported on their discovery on how to get rid of pesky earworms (not that you would want to stop hearing Beethoven’s music!), but I’m sure Google Chrome hopes you’ll put up with some of those sticky motifs a little while longer.
GRADUATE RESEARCH SURVEY 2013 – CLASSICAL MUSIC AND SYMPHONY ORCHESTRA PERFORMANCE (SUMMARY OF RESULTS)
1. Which generation do you represent? (Upper age limit adjusted as of 2012)
|The Millennial Generation – Those born after 1980 – the first generation to come into adulthood in the new millennium; ages 18-32||62||56%|
|Generation X – People born from 1965-1980; ages 32-47||25||23%|
|The Baby Boomers – Those born between 1946 and 1964, associated with the fertility spike following WWII; ages 48-66||23||21%|
|The Silent Generation – Adults born during the Great Depression and WWII, between 1928-1945; ages 67-84||0||0%|
|The Greatest Generation – The generation that fought and won WWII, the adults born before 1928; ages 84+||0||0%|
2. What is your gender?
3. Is there a particular instance or influence that first attracted you to classical music?
|Musicians in your family||32||29%|
|Multimedia – movies, video games, TV shows, YouTube, etc.||14||13%|
4. When was the last time you attended a symphony orchestra performance?
|Within the past 3 months||57||52%|
|Within the past 6 months||9||8%|
|Within the past year||16||15%|
|Within the past 2 years||12||11%|
|Between 2 and 5 years ago||8||7%|
|Five years +||5||5%|
5. When and by whom were you first introduced to symphony performance?
|As a child, by your parents or family||50||45%|
|During a field trip in primary school (ages 5-10)||23||21%|
|In secondary school, through friends, teacher(s), a mentor, band (ages 11-17)||24||22%|
|Private music lessons, by a teacher or peers||3||3%|
|During college, through peers, classes, professors, advisors, school performances, local orchestra (18+)||8||7%|
- My father has been involved with classical music as a child himself; therefore, he wanted to instill the same traditions into his daughter. As a child, he would play Harold in Italy by Berlioz for me and I would dance along with the melody. From this moment, he knew that I would play the viola.
- I was in High School.
- I saw a lot of band concerts because I was in band.
- I (joined) the Symphony orchestra at the University.
- Wolf Trap summer children’s festival. Also school field trips to the Kennedy Center.
- Our public school district in north Jersey had a strong, well-supported music program.
- My high school…
6. What in your opinion are the biggest challenges facing symphony orchestras, especially when it comes to engaging younger audiences in live performance?
|Programming – concert selections, musical time period, etc.||16||15%|
|Lack of interest||50||45%|
- I was an intern at the Kennedy Center for September through December in 2012 and attended many of their performances during that period. I think the NSO Pops drew the youngest average crowd for an orchestra production, but I’m not sure if that was due to the repertoire or the novelty. The concert experience itself does seem the most important element to me though, as everyone wanted to be there for this unique event.
- pieces need to be fun and upbeat in order to get younger audiences interested. I am a musician myself, and I still get bored at orchestra concerts sometimes…
7. How do you participate in orchestra performance most often?
|Listening to broadcasts and/or recordings||40||36%|
|Creating music – composition, performance, etc.||22||20%|
|Online – YouTube, streaming, Spotify, etc.||21||19%|
|Mobile devises – iPod, cell phones, iPad, etc.||9||8%|
- General Manager of the Capital City Symphony
- Also most often an audience member.
- Violinist in the AUSO (American University Symphony Orchestra)
- Public radio
- I’m also learning how to compose my own contemporary classical pieces. I frequently use Pandora and have several stations from different periods of music. I most often listen to the station created around Sergi Prokofiev and the Romantic period.
- I have a large collection of music on my computer, and I keep meaning to buy the .99 cent master collection albums from Amazon. (100 tracks for 99 cents) …
8. If you had the option, how would you prefer to participate in orchestra performance?
|Listening to broadcasts and/or recordings||20||18%|
|Creating music – composition, performance, etc.||49||45%|
|Online – YouTube, streaming, Spotify, etc.||7||6%|
|Mobile devises – iPod, cell phones, iPad, etc.||4||4%|
- While I do feel live performances are often the best way to experience a show from an audience perspective, online viewing does create a nice substitute though. Being able to see the performers does add another level of involvement, even if doing so from home, because the audience relates the physicality involved with producing the music.
- The other options should always support and encourage people to attend (frequently) the live in-person experience, which is second to none.
- On-line streaming could also be useful
- I would love to compose or play, but I haven’t received the training…
9. If you could choose, what would you like orchestras to do differently? (change, do more/less of, add new, etc.?)
|Concert timing (days, time of day, time of year)||14||13%|
|Programming (Classical, pops, contemporary, etc.)||35||32%|
|Composers and/or artists||7||6%|
- Work with other groups to expand audience. Cross-pollinate!
- Our minds have become overwhelmed with stimulus, and we are accustomed to bigger and better. With technology today, pairing orchestral performances with dance, aerial cirque acts, light shows, and video footage gives the active mind more to do and fortifies the experience so shelling out the $100 a ticket is more likely.
- Evening performances are the norm for a working public, but I would love to see more daytime performances.
- I think the orchestra has to do more to draw people in especially through social media, free events…
10. What else (ideas, experiences, opinions, suggestions, etc.) would you like to share about engaging audiences (current and new) in classical music or symphony performance?
- Overall making performances relevant to current audiences, including programming, accessibility, concert experience, online interaction, etc.
- Orchestra musicians, conductor and the soloist should come out from their backstage dressing rooms and greet the audience members after performances. It’s a more intimate feeling than just playing on stage.
- As a performer, I find it is difficult to engage current audiences in classical music because of the general notion that it all sounds like Mozart or is boring. I would like to spend more time encouraging my friends to listen to more music that is not as predictable by taking them with me to more live performances or encouraging them to see me play. I feel it is always more interesting and engaging as an audience member to see someone you know up on stage performing.
Number of daily responses
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My professors in the arts management department at AU; Millennial blog platform, GenYHub and GenYTV rep, Marni G.; Professor Marc Whitt and his PR and Music Industry students at EKU; musicians in the AUSO; Audience Development Specialist, Shoshana Fanizza; Dr. Michael Ryan, ED of Fine Arts in Fort Worth I.S.D. (Independent School District); Twitter followers: Zero2Maestro, Harpist Nadia P., arts marketer Connie R., LibraryOboist, Sinfonia Toronto, Polyphonic, American Composer Christopher James Lee, PV (Pioneer Valley) Symphony, Ilias Ntais of enchoris, Emily Davis President of Emily Davis (EDA) Consulting, and the League of American Orchestras.
Also, thanks to anyone who has taken interest in my work, shared my survey, or offered their thoughts, ideas, encouragement, or advice!
“Facebook still has a massive lead, but Google+, with 343-million active users, is now the second most popular social network.” – ZDNet
Not too long ago, I wrote about Google+ taking the bronze in social media and its potential for enhancing community engagement with nonprofit arts organizations. It was recently reported that Google+ has now taken second place, claiming the silver medal in social media.
- What are you ideas for Google+ engagement in the arts?
- Have you taken advantage of Google+ Communities and/or Hangouts with your audiences?
- What are your goals regarding social media arts engagement for the new year?
Can’t wait to hear from you! Thanks for stopping by.
SilverPop – a digital marketing technology provider – decided to research trends in social media growth among the top 20 social networking sites. The usual suspects topped the list: Facebook takes the gold with a mere 1 billion users and Twitter comes in second with 500 million registered users. Another somewhat unexpected player has joined them on the winners podium, however. Coming in third, Google+ gets the bronze.
On Nov 27, 2012, SilverPop announced their findings (data as of Nov. 15, 2012), using a nifty infographic to illustrate the rapidly evolving social networking landscape. Participants were ranked, in most cases, by total registered users and then grouped into 5 different clubs according to growth patterns.
At the top, social media celebrities Facebook, Twitter, and Google+ mingle in The 100 Million User Club; the increasingly popular location-based, photo-sharing, and microblogging platforms, Foursquare, Instagram, and Tumblr, shine among The Rising Stars; from XING (never heard of it), to Yelp, and LinkedIn, let’s not forget to acknowledge The Steady Freddies, showing steady growth over the past 3 to 5 years; The Child Prodigies of social media, Pinterest, Soundcloud, and Path, have achieved a meteoric rise to fame despite their young age (between 2 and 4 years old); Friendster, MySpace, and Orkut, which were launched in 2002, 2003, and 2004 respectively, have taken a seat in the Cooling Off club in regards to popularity.
By mid-September of this year, Google+ reached 400 Million users. Less than three months later, Google+ now has more than 500 million members, which is on par with Twitter in SilverPop’s 100 Million User Club.
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Despite initial skepticism, Google+ has grown from 40M users in Oct 2011 to 500M users as of Dec 2012. Google+ is definitely on the rise and I would like to share my ideas with you for using this growing platform as an effective promotional tool for nonprofit organizations (particularly the arts)!
In recent news, Google+ has also launched Google Communities, encouraging groups to gather around common interests, connect using Google Hangouts and the Google+ mobile app, and explore current or new passions with your communities.
As an emerging arts leader, I am excited at the prospect of using Google+ Hangouts and Google Communities to connect with symphony orchestra and other performing arts enthusiasts. I think Google+ will prove to be an innovative and effective tool for building relationships with current and future audiences, donors, administrators, board members, volunteers, etc.
Will you join the club?