The Millennials’ Orchestra: Competing for Attention

“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:

Audience Insight - Electronic Media by Age CohortNote: 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.
123 Ibid.
124 Ibid.
125 Pew Research Center, 2010, “Millennials: Confident-Connected-Open to Change.”
126 Ibid.
127 Alan Brown (Project Director), “Classical Music Consumer Segmentation Study.”
128 Ibid.

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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?

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Restoring Classical Music in the New Millennium – Part 3

Recap of Parts 1 & 2:

PART 1: The first installment of the “Restoring Classical Music in the New Millennium” series placed the spotlight on a couple of young and talented classical musicians.  At the same time, it helped demonstrate the charitable nature that is characteristic of the Millennial generation as a whole.  Illustrating young talent and their attention to benefiting the greater good, I shared the stories of two amazing Millennial classical musicians: Jourdan Urbach, a 21 year-old violinist and philanthropist, and Nicola Benedetti, a lovely 25-year-old violinist with a passion for music education.

PART 2: The second installment highlighted Nadia Sirota, a 30 year-old violia player with a flair of hip hop, and Gustavo Dudamel, the 32-year-old “Dude” of the LA Phil, brandishing his conductor’s baton. Together they symbolize the fire, spirit, and ingenuity of the Millennial generation.  Although they come from very different backgrounds, they align on the international stage as performing artists trying to make a positive difference in the world through the amazing power of music.
_____________________________________________________________________

As for PART 3 of this series, we explore the backgrounds and accomplishments of an extraordinarily hip pianist and a tremendous violinist with a rather quirky sense of humor. Let’s begin our third round with pop icon and internationally acclaimed concert pianist, Lang Lang.lang-lang-2
LANG LANG
Lang Lang exemplifies the hope, wonder, and excitement of achieving the American Dream. Since a young age, Lang Lang has impacted others through his piano performance. Now, at the age of 31, Lang Lang has become a globally recognized classical music ambassador and icon for the next generation of concertgoers and performers with his own new-age flair.

A Piano Prodigy
Lang Lang’s journey began in Shenyang, China, his hometown.[1] He began studying the piano at the age of three, played his first public performance at the age of five, and has since progressed with only extraordinary outcomes.[2] From conservatories to competitions and piano performances, Lang Lang has made a name for himself in the new world of classical music.Lang_Time

He joined the Beijing’s Central Music Conservatory at the age of nine, and by the time he was 13, Lang Lang had become an international sensation.[3] After winning the renowned Tchaikovsky International Young Musicians’ Competition,[4] he set off for America to study at one of the world’s greatest classical music conservatories – the Curtis Institute of Music.[5] Like something out of a movie, Lang Lang performed a Tchaikovksy concerto in place of world-famous pianist, André Watts, with the Chicago Symphony Orchestra.[6] Thus, at the ripe old age of 17, Lang Lang the classical music superstar was born.

The Hottest Artist in Classical Music
The New York Times has proclaimed Lang Lang to be one of the “hottest stars in classical music.”[7] Not only is Lang Lang young and extremely talented, he also has a fashion-forward sense of style and seemingly endless amount of energy that, in my opinion, has helped to rejuvenate classical music performance and Millennial interest in this important art-form.Lang_adidas

Classical music meets pop-culture with Lang Lang at the keyboard. In 2009, he released his limited edition black and gold, piano theme Adidas Gazelles. From major sporting events and open-air concerts, to Hollywood films, dub-step and social media inspired collaborations, and the Lang Lang International Music Foundation, Lang Lang is engaging listeners and performers in new ways. He actively expands the musical horizons of those young and old and has proven himself to be a new-age master of classical music performance and an inspiration to the next generation of musical artists. (Stay tuned for Hilary Hanh, soon to follow in Part 3!)lang-lang-spotlight

LANG LANG
Age: 31

Nationality: Chinese
Instrument: Piano

Claim to Fame: Piano prodigy and internationally recognized classical musician; Lang Lang International Music Foundation

Facebook: 113,789 likes – Lang Lang Piano
Twitter: 44,193 Followers – @lang_lang
Website:
www.langlang.com; www.langlang.com/adidas


[1] http://www.langlang.com/biography
[2] ibid.
[3] ibid.
[4] ibid.
[5] http://www.curtis.edu/about-curtis/history/timeline/
[6] http://www.langlang.com/biography
[7] http://www.nytimes.com/2007/04/04/arts/music/04clas.html

Full Series: Restoring Classical Music in the New Millenium – Millennial Magazine

The Millennials’ Orchestra: The Challenges Facing U.S. Symphony Orchestras – Part 1

“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: The Challenges Facing U.S. Symphony Orchestras – Part 1

Declining Demographics
Symphony orchestras have been faced with many challenges over the decades, including financial distress, decreasing audiences and revenue, and increased competition for our patrons’ attention as technology, work, and education continue to evolve and shape our lives.  The so-called classical music crisis and threat of extinction for symphony orchestras have been a cause for concern among music lovers, culture-seekers, and orchestra managers everywhere.

In part 1 of my posts on the challenges facing symphony orchestras, I address the issue of declining audiences in the concert hall.  Stay tuned for parts 2 and 3, coming soon!

A Return to CHURN
The Classical Music Consumer Segmentation Study, led by Audience Insight LLC Project Director Alan Brown from 2000-2002, is considered to be the most extensive discipline-specific audience study ever conducted in the U.S.[1] The study analyzes the consumer markets for classical music performance (existing and prospective) among fifteen symphony orchestras across the United States.[2] These include the:[3]

  • Brooklyn Philharmonic Orchestra
  • Charlotte Symphony Orchestra
  • Colorado Symphony Association
  • Detroit Symphony Orchestra Hall
  • Fort Wayne Philharmonic Orchestra
  • Kansas City Symphony
  • Long Beach Symphony Association
  • Louisiana Philharmonic Orchestra
  • New World Symphony
  • Oregon Symphony Association
  • The Philadelphia Orchestra Association
  • Saint Louis Symphony Orchestra
  • Saint Paul Chamber Orchestra
  • Symphony Society of San Antonio
  • Wichita Symphony Society

With more than 750 interviews conducted at each location, the study reveals valuable insights into consumer behaviors, frequency and patterns of attendance, as well as the values and benefits that audiences associate with the classical music concert experience.[4]

The research initiative stems from the preceding Magic of Music project commissioned by the Knight Foundation with the primary goal of strengthening the connection, or the bond, between audiences and orchestra musicians in the concert hall (phase 1, 1994).[5]  Innovative programs were designed as points of entry for new and younger (ages currently associated with members of the Millennial generation) patrons and evaluated based on the engagement of these audiences.[6]  Phase 2 of the project (1999) involved the continuation of program innovation and audience development,[7] and led to the national Classical Music Consumer Segmentation Study by Audience Insight LLC (2000 – 2002).[8]

The comprehensive two-year study shows how symphony orchestras across the U.S. have “accumulated large numbers of inactive, former buyers – people who have attended a concert at some point in their lives but who do not attend now with any regularity.”[9] Declining attendance at symphony orchestras concerts (that is, having difficulty filling concert halls and attracting new audiences) is a prominent concern.[10] Unfortunately, similar patterns of poor audience retention and decline in overall attendance emerge in other landmark studies conducted by highly reputable arts researchers.

The League of American Orchestra’s Audience Growth Initiative (2005 – 2009), for example, revealed that 65% of symphony orchestra patrons are “one-time/uncommitted buyers.”[11] Despite the large number of individuals belonging to this segment, these patrons provided only 7% of the orchestras’ total revenue.[12]  Conversely, “loyal subscribers” and “extreme patrons,” or patrons that demonstrated greater commitment to larger average gifts and paying more for tickets and subscription packages, represented less than 10% patron households.[13]  This small group is also responsible for providing nearly 75% of the orchestras’ revenue.[14]  The disproportionate levels of support exist among concert ticket buyers and symphony orchestra donors.[15]

The lead researcher, Oliver Wyman, released the findings in the 2008 “Churn Report.”[16] As Wyman explains, “while the orchestras were good at attracting newcomers to concerts, they were having trouble getting people to come back for a second concert or sign up for a multi-concert subscription.”[17]  Churn has become particularly concerning as symphony orchestras face the increasing challenges of aging audiences and declining attendance at classical music concerts.[18] Researchers and consultants at TRG Arts have uncovered similarly disturbing trends in cultural arts attendance over decades of research.[19]

According to their Patron Loyalty Index, a measurement tool that gauges the level of loyalty patrons have to arts organizations, “Tryers” are considered the least loyal patrons and make up more than 90% of arts constituencies.[20]  Lack of loyalty, therefore, makes these patrons some of the most difficult to retain.[21] Churn and inactivity are understandably common behaviors at this level.  “Buyers” account for approximately 10% of patrons,[22] and are considered moderately loyal and more willing to make a donation in addition to ticket purchases.  The most loyal constituents are the “Advocates,” representing 2% of most patron bases.[23]  Advocates are typically the most frequent, consistent, and recent attendants.[24]

TRG Arts: The Loyalty Pyramid

LoyaltyPyramid

In order to mitigate associated risk and revenue loss, cultural arts organizations (symphony orchestras in this case) must actively seek the “re-engagement of Tryers, either from first time to second or last time to now.”[25]  Developing stronger, long-lasting patron relationships fosters greater patron loyalty and audience retention, effectively moving them from “Tryers,” to “Buyers,” to “Advocates.”[26]  With this approach, symphony orchestras can develop patron loyalty programs that strategically engage cultural consumers and encourage greater loyalty and increasingly philanthropic behavior.  In turn, the growth and redistribution of patrons displaying “Buyer” and “Advocate” behavior and loyalty serves to fortify and help sustain the organization.[27]

Subscription programs are seen as one way to escalate audience and donor loyalty.[28] Although researchers in the Audience Insight LLC’s 2002 consumer segmentation study believe that subscription campaign marketing can limit concert attendance for U.S. symphony orchestras.[29] Subscription marketing is often at odds with the needs and preferences of “younger audiences” – defined by Audience Insight LLC as ticket buyers between 18 and 34 years old (2002).[30] Many Millennials are simply uninterested in making a commitment to concert subscriptions.[31] Attracting these new and younger audiences, therefore, “may require a loosening of the definitional boundaries around ‘classical music’ and structural changes to the concert experience that recognize the underlying values and benefits that consumers seek from listening to classical music and attending live concerts.”[32]


[1] Alan Brown (Project Director), “Classical Music Consumer Segmentation Study: How Americans Relate to Classical Music and Their Local Orchestras, commissioned by 15 American Orchestras and the John S. and James L. Knight Foundation,” Southport, Connecticut: Audience Insight LLC, 2002, 5.
[2] Alan Brown (Project Director), “Classical Music Consumer Segmentation Study,” 2002.
[3] Ibid.
[4] Ibid 127.
[5] Ibid.
[6] Ibid.
[7] Ibid 5.
[8] Ibid.
[9] Ibid 6, 9.
[10] Ibid 12.
[11] PRESCOTT & ASSOCIATES, “Churning Butter into Gold: Patron Growth Initiative.” In League of American Orchestras 2011 National Conference. Minneapolis, Minnesota: League of American Orchestras, 2011.
[12] Ibid.
[13] Ibid.
[14] Ibid.
[15] Ibid.
[16] Oliver Wyman, “Audience Growth Initiative Detailed Findings and Recommendations,” in Orchestra Audience Growth Initiative: Oliver Wyman, 2008.
[17] Oliver Wyman, “Oliver Wyman » Churn Report Facts and Stats.” last modified 2013, accessed March 20, 2013, http://www.oliverwyman.com/4071.htm.
[18] Ibid.
[19] Jill Robinson, “Too Many Tryers to Sustain the Arts,” in Analysis from TRG Arts: A Blog on Cultural Consumer Behavior, blogspot: Blogger, 2012, http://trgarts.blogspot.com/2012/03/too-many-tryers-to-sustain-arts.html.
[20] Ibid.
[21] Ibid.
[22] Ibid.
[23] Ibid.
[24] Ibid.
[25] Ibid.
[26] Ibid.
[27] Ibid.
[28] Jill Robinson, “Too Many Tryers to Sustain the Arts.”
[29] Ibid.
[30] Alan Brown (Project Director), “Classical Music Consumer Segmentation Study.”
[31] Ibid.
[32] Ibid 2.

The Millennials’ Orchestra: Let the Journey Begin!

“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: Let the Journey Begin!

Millennial Generation Audiences
Since the summer of 2012, I have been working on my Master’s Capstone Portfolio in arts management at American University in Washington, D.C.  During this time I focused my attention on Millennial generation audiences and donors and improving their engagement with U.S. symphony orchestras.  Now that I have graduated, and therefore successfully completed my research project, I am excited to share it with you and hope you will enjoy reading about my thoughts and findings.  As always, I encourage you to comment and share with whomever you think will enjoy my blog.  Thanks for following along — I hope you’ll stay tuned for the duration and take interest in Millennial engagement in the arts!!  Let the journey begin…

Source: vxla on flickr

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The Millennials’ Orchestra:
 Marketing and Development Strategies for Engaging Millennial Generation Audiences and Donors in the U.S. Classical Symphony Orchestra Concert Experience

The purpose of my master’s portfolio is to describe effective marketing and fundraising strategies for engaging Millennial generation audiences and donors with symphony orchestras and classical music performance.  My work as the Strathmore Development Intern for the Baltimore Symphony Orchestra, under the supervision of Stephanie Johnson, Donor Relations Manager, and Deborah Broder, VP of Development, is contained in the portfolio section of my capstone. Work samples demonstrate elements of orchestra management and development, as well as the Next Generation BSO initiative – a development campaign inviting donors to consider underwriting tickets for young professionals to engage in Baltimore Symphony Orchestra performances.

Importance
Several key factors point to the importance of involving and recognizing this generation as participants in the culture and fundraising efforts of symphony orchestras in the U.S. today.  As with any other generation, this population group is characterized by certain distinguishable attributes and shaped by the particular life events and societal dynamics of their time.  Millennials – young adults between the ages 18 and 29 (as of 2010), or individuals born between the years 1981 and 1993 – are known for being confident, connected and open to change.[1] They have been described as the “American teens and twenty-somethings now making the passage into adulthood”[2] with a strong desire to get involved in meaningful activities, engage in social interaction, and give to causes they care most about.[3]

Robert Flanagan, American economist and Professor Emeritus at the Stanford Graduate School of Business,[4] discusses the socio-economic perils facing U.S. symphony orchestras.[5]  He points to the fact that most Millennials are still finishing school or just starting their careers, and are therefore less likely to fit the traditional concert-goer mold.[6]  As of 2002, for example, the median age of people attending classical symphony orchestra concerts nationwide was 60 years and older.[7] These audiences also tend to exhibit higher socioeconomic status (i.e. individuals having at least a college degree and an annual income of $50,000 or more).[8] Such disparities may make Millennials feel less welcome in the concert hall and ultimately less likely to participate.[9] Unfortunately, the absence of Millennial audiences has become a growing concerning as audiences continue to age and participation declines.[10] The National Endowment for the Arts’ 2008 Survey of Public Participation in the Arts reports on some of the influential factors in the marked decline of overall arts participation throughout the United States.[11]

In addition to the financial hardship associated with the economic recession just prior to the survey (2007-2008), the NEA found that classical music audiences between 1982 to 2008 “have aged faster than the general adult population (classical music is one in a small group of performing arts disciplines, including ballet, non-musical theatre, and jazz, to experience such rapid aging of audiences).”[12] In addition, the incidence of music education in the lives of Millennials reportedly fell by more than a third (to 38%) during that time.[13] Greg Sandow refers to the NEA’s research in his classical music ArtsJournal blog, but emphasizes the dramatic decline in attendance by Millennials beginning in the early 1980s.[14]

Given the decline in classical concert attendance even among older adults in recent years,[15] and relative absence of Millennials to help sustain arts organizations going forward, waning attendance becomes not only a concern of reduced ticket sales and annual revenue[S1] , it also brings the long-term health of classical symphony orchestra performance into question.[16] Millennials are clearly eager to make a difference in the world[17] and symphony orchestras would be wise to develop ways of effectively and strategically engaging these individuals, making good use of their time, skills, and donations.[18]


[1] Pew Research Center, 2010, Millennials: Confident-Connected-Open to Change, In Millennials: A Portrait of Generation Next, edited by Paul Taylor and Scott Keeter: Pew Research Center.
[2] Ibid.
[3]Achieve and Johnson, Grossnickle and Associates, “The Millennial Impact Report 2012.”
[4] Anne Gregor, “Financial Leadership Required to Fight Symphony Orchestra ‘Cost Disease’,” in Stanford Graduate School of Business (2012), published electronically February 8, 2012, http://www.gsb.stanford.edu/news/headlines/symphony-financial-leadership.html.
[5] Robert J Flanagan, The Perilous Life of Symphony Orchestras: Artistic Triumphs and Economic Challenges, 2012.
[6] Ibid.
[7] Alan Brown, 2002, Classical music audiences, in Midmorning: Minnesota Public Radio.
[8] Robert J Flanagan, The Perilous Life of Symphony Orchestras.
[9] Ibid.
[10] Greg Sandow, “Building a Young Audience (Proof of Culture Change).” In Greg Sandow on the future of classical music. ArtsJournal, 2012.
[11] Kevin Williams and David Keen, “2008 Survey of Public Participation in the Arts,” edited by Don Ball, National Endowment for the Arts, November 2009.
[12] Ibid.
[13] Ibid.
[14] Greg Sandow, “Building a Young Audience (Proof of Culture Change).”
[15] Alan Brown, 2002, Classical music audiences.
[16] Greg Sandow, (ArtsJournal blogger), interview by Catherine Starek, “The Future of Classical Music,” June 10, 2012.
[17] Achieve and Johnson, Grossnickle and Associates, “The Millennial Impact Report 2012.”
[18] Ibid.

SURVEY RESULTS: What People Really Think About Classical Music and Symphony Orchestra Performance in the 21st C.

GRADUATE RESEARCH SURVEY 2013 – CLASSICAL MUSIC AND SYMPHONY ORCHESTRA PERFORMANCE (SUMMARY OF RESULTS)

110 responses

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?

Female 79 72%
Male 31 28%

3. Is there a particular instance or influence that first attracted you to classical music?

Musicians in your family 32 29%
Music teacher 20 18%
Friends 6 5%
Particular performance 15 14%
Multimedia – movies, video games, TV shows, YouTube, etc. 14 13%
Other 23 21%

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%
Never been 3 3%

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%
Other 2 2%
Comments
  • 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%
Expense 16 15%
Concert experience 17 15%
Lack of interest 50 45%
Other 11 10%
Comments
  • 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%
Other 18 16%
Comments
  • 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%
Other 30 27%
Comments
  • 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.
  • Performance
  • 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%
Musicians’ dress 5 5%
Programming (Classical, pops, contemporary, etc.) 35 32%
Technology 18 16%
Composers and/or artists 7 6%
Other 31 28%
Comments
  • 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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Special Thanks:
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 FanizzaDr. 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.LibraryOboistSinfonia TorontoPolyphonic, 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!

‘SEE’ the power of music for arts audience development!

Audience Development Specialists Blog!

We are leading up to the Classical Music Webinaron Friday! Today we have a guest post by Catherine Starek.  Catherine is a graduate student with the desire to promote the arts to younger audiences.  She came across a particular type of program, symphonic photochoreography, that is being used by some orchestras with great results.  The following is her personal experience and opinions about this presentation and how it might be one answer for reaching out to new and younger audiences.  Enjoy!

***************************************************************************

Do you ever wish you could ‘SEE’ the power of music?
bv Catherine Starek

If you answered yes, you aren’t alone. Some symphony orchestras are exploring innovative audio-visual performance options, such as James Westwater‘s symphonic photochoreography.

What is symphonic photochoreography? James Westwater explains: “Symphonic photochoreography is an innovative art form that engages audiences worldwide with evocative, multi-image photographic essays choreographed and performed live to selected…

View original post 855 more words

Graduate Research Survey: Classical Music and Symphony Orchestra Performance

Classical Music and Symphony Orchestra Performance

Purpose and Source: I created this survey in order to gather current perspectives and insights on classical music and symphony orchestra performance.

Estimated Time: This survey should take about 5-10 minutes to complete, depending on the depth of responses. Please take as much time as you need, however, and answer to the best of your ability.

Confidentiality: I value your time and effort. Please know that your responses are contributing to my graduate research project in arts management at American University, and participation is voluntary. You can always contact me with questions or concerns at: cs4868a@american.edu 

Participants: If you a receiving this directly, I have chosen to contact you or a corresponding group based on previous interactions. That being said, I encourage you to share this survey with contacts and friends for the benefit of the research.

Thank you for consideration! You are an important part of the puzzle. Click here to begin.

*Please respond by March 10, 2013, and stay tuned for the results!

Source: Wikimedia Commons Author Superbmust

Image Source: Wikimedia Commons – Superbmust

Creative Commons License
Classical Music and Symphony Orchestras in the 21st C. (Graduate Research Survey 2013) by Catherine Starek is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.

Systemic arts – What if we took a holistic approach to managing nonprofit arts organizations?

I am pleased to announce that my post has been featured on the Americans for the Arts blog as an Emerging Arts Leaders Symposium (EALS) post!!  You can check it out here>>

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I have always thought of symphony orchestras, or any large musical ensemble, to function somewhat like clockwork.

As a musician, one quickly realizes that the success of the symphony (e.g. high-quality performance, beautiful tone, expressive phrasing, etc.) is dependent on the sum of its parts. The performance of every individual must be sensitively adjusted to compliment the rest of the ensemble in order to produce one cohesive musical story.

The internal intricacies, typically unseen by its admirers, must be functioning properly and working together in order for the larger system to operate properly.  In the case of a clock, even the grandest, most impressive-looking ones may cease to operate with broken or damaged parts.  Similarly, symphony orchestra management can be most effective when all of its departments are working well and moving forward together.

Source: Tai Toh on flickr.com

What if we, as nonprofit leaders in the arts, took a systemic approach to orchestra management? Rather than focusing on issues separately and only when we are forced to deal with them, one might adopt the mindset of always doing what is best to maintain the overall health of the organization in the long run.  Perhaps we should start asking ourselves: How does the health of the organization affect the community it serves or the field as a whole? How can you help your art-form continue to be resilient in an environment of constant change?

I have thought about the idea of holistic management for a while and now a new book, appropriately named Resilience, is making me think that it is not only a good way to manage arts organizations, but may also be a better way of living life.  In no way am I an expert at this and I am still learning, but I wish to be the best arts manager I can be.  I believe in the importance of symphony orchestras in society and hope to inspire others to continue to engage in their performances and events.

  • What do you do in your daily life and work to make sure you’re seeing the larger picture?
  • What mechanisms have you built-in to ensure that your organization has the ability to “bounce back” in the face of hardship?

More ideas to come… for now, I welcome your thoughts and comments!

*     *     *

Thank you, Professor Andrew Taylor for inspiring me, as well as other emerging art leaders at American University, to embrace new ways of thinking about the arts and career readiness around the concept of resilience.

2012 in review

The WordPress.com stats helper monkeys prepared a 2012 annual report for this blog.

Here’s an excerpt:

600 people reached the top of Mt. Everest in 2012. This blog got about 6,100 views in 2012. If every person who reached the top of Mt. Everest viewed this blog, it would have taken 10 years to get that many views.

Click here to see the complete report.

Thank you to my top commenters:

  1. zeebradesigns
  2. ailsapm
  3. suburbanferndaleark
  4. The Retiring Sort
  5. frizztext

Symphony orchestras going mobile? App-solutely!

With the use of mobile apps on the rise, I was curious to see how many symphony orchestras have embraced the trend.

Orchestra apps are making it easier for fans to follow the latest news, find event information, buy tickets, make donations, listen to music samples, watch videos, learn about conductors and musicians, access driving and parking information, and more…all on their mobile devices.

There were a few orchestras that I expected to find, including the Chicago Symphony Orchestra, the Detroit Symphony Orchestra, and the San Francisco Symphony.  There were several that I was pleasantly surprised to see!  Although I am rather impressed by the number of symphony orchestra apps already available, I feel there is great potential for this list, as well as patron engagement, to grow.

Which symphony orchestras did I find in the rapidly expanding mobile app-mosphere?

New finds!

Classical Music Apps:
WQXR – New York’s Classical Music Radio Station – released the Top 5 Classical Music Apps (top 5 @ 105) in 2011, including:

  1. Bachtrack – search by composer, work, choreographer, performer, country, city, venue or any combination of these.
  2. Boston Symphony Orchestra – BSO Media Center: WebTV provides virtual concert-going experience (Press release)
  3. Medici.tv – subscribe, rent films, and watch live webcasts
  4. iGendyn – entertaining sound synthesis app
  5. Mahler Translation – Nearly 2300 English translations of German musical words and phrases found in Gustav Mahler’s symphonic works.

You may find other WQXR Top 5 lists from 2012 that interest you:

I want to hear from you! (@CStarek; www.mezzaphonicallyspeaking.wordpress.com; Google+)

  1. Would you consider downloading your local orchestra’s mobile app?
  2. What are your initial reactions to this service?
  3. What are your thoughts for the future of symphony orchestra engagement?