Dynamic Arts Consulting

community engagement  is critical for symphony orchestra sustainability.

Audience Development encompass the techniques and mechanisms that a performing arts organization uses to attract audience members.

I have lately been involved in an underground mission: stealth symphony audience development. Starting small – with my cadre of violin students – I am working to achieve the lofty goal of greater exposure to classical music throughout the community of Eugene, Oregon……. and beyond.

On May 20th, I was seen corralling a group of students of all ages as in the Hult Center for the Performing Arts, the main concert venue in Eugene and the home of the Eugene Symphony.   The concert hall will now be a memorable place for these students, rather than a foreign home to the elusive symphony orchestra.  One student described the experience as “transcending emotional experience”.

Last night, I took another group of students to the Eugene Youth Symphony concert.  Accessible for “young ears”, the concert consisted of the overture to the Barber of Seville, Bizet’s Carmen Suite, and Symphony Espagnole for Violin by Lalo.  There was also a new work by Steven Stucky,  Son et lumiere which challenged both the orchestra and the audience.

These concerts were an opportunity for my students to see orchestras in action and also become familiar with the concert experience.  Education and community engagement are integral for symphony orchestras to maintain relevance to future audiences.

Operating as an initiator, I am working to bringing new audiences to concerts which is a main goal of symphony orchestra marketers.   Says Joanne Shceff Bernstein:

” Initiators constitute 18 percent of culturally active adults (people who attended any arts events in the past year)  are the kind of person who likes to organize outings to cultural events for friends”.  (Arts Marketing Insights, p. 60).

Silva Concert Hall, Hult Center

Audience development seeks to provide appealfor frequent ticket buyers while simultaneouslyreaching new attendees. Within the current economic climate, audience development has become more complicated among shifts in community demographics as well as increased competition for organizational funding.

While enjoying a fine performance by the Eugene Youth Symphony, I was a reinvigorated with optimism for the future of symphonies.  Orchestra music is relevant and will continue to touch audiences while new symphony musicians remain on the horizon.   Stealth audience development = success.

Providing student discounts, group rates, and rush tickets are ways that an organization can reach new audiences and start building a relationship with them.  This can lead to future subscribers and donors.

My stealth audience development familiarizes an interested audience with orchestra concerts while the students are also learning to play an instrument.  The majority of symphony orchestra audiences have experience playing a musical instrument or another personal connection to orchestra music.

Artistic programming, the “product” of symphony orchestras, is the most critical component of the organization’s outward representation in a community.

Artistic directors have historically been the masterminds of symphony programming – as noted in this article – discussing James Levine’s work with the Boston Symphony.

Another major orchestra, the L.A. Phil, was rewarded by the League of American Orchestras for innovative programming in 2009.  The L.A. Times commented:

During his 17 years as music director, Salonen shifted the orchestra’s repertoire toward more modern works with an emphasis on 20th century and new music.

Other Programming awards by the League in 2009 included these orchestras:

• John S. Edwards Award for Strongest Commitment to New American Music:
  Cabrillo Festival of Contemporary Music
  Marin Alsop, music director and conductor
• Morton Gould Award for Innovative Programming:
  Los Angeles Philharmonic
  Esa-Pekka Salonen, music director
• Leonard Bernstein Award for Educational Programming:
  Albany Symphony Orchestra (Albany, N.Y.)
  David Alan Miller, music director and conductor
• Award for American Programming on Foreign Tours:
  Orange County (California) High School of the Arts Symphony Orchestra
  Christopher Russell, music director

But really — How do symphony orchestra managers decide what pieces to perform at concerts and how does the programming affect other functions of the organization?

To try to answer this question, my thesis assessed the link between internal organizational dynamics and artistic programming of the Eugene Symphony in Eugene, Oregon.  This work sparked my ongoing interest in how programming relates to the individuals involved in decision-making as well as the desired outcome.

Artistic programming is the most important factor for audience members and can determine the success of a symphony season.  The artistic challenge is to create a link throughout the season, and even between multiple seasons that encourages audience members to attend concerts while providing stimulating repertoire for the musicians and the conductor.

My master’s research and further investigation has showed that collaboration is a critical component of symphony artistic programming.  So…..I am diving back into my collaborative case studies with vigor to see how a variety of organizations in the industry approach collaboration and artistic programming.

Is it really just the conductor who decides what pieces to play?  Is that good? Bad?

from: www.CartoonStock.com.

Lets leave that to the experts

Greetings again from Eugene, Oregon!

Recently, this blog has been on a hiatus while dynamic arts focused on some other important tasks.  Though not writing regularly here, I have been busy with consulting projects, playing in local orchestras, and working on my own violin performance (TBA).  I have also been taking steps to maintain a balance in life with  hobbies of baking, knitting, and outdoor recreation (in the sun).

This is how I’ve used my short blog hiatus effectively:

• Updated New Look: To re-invigorate the blog and add a professional and artful feel, I updated my website template and learned more about Wordpress customization.  There is still work to do in this area, and the design may continue to transform as Dynamic Arts Consulting grows and develops.  I also began a new section; performing arts sources, that will be populated with the most useful texts in the performing arts field that I am aware of.
• Blog-Worthy Projects and Posts: While not posting continuously, I have nevertheless been mulling and working on different strands and ideas for this arts administration blog.  Upcoming posts will address collaborative symphony organizational cultures and building open communication patterns.  As that progresses, I will also look at audience development and music education.
• Leisure time! We all need time away from work, even when it is our lifelong passion.  I have been ensuring time for running and coffee with friends to keep an even plane of activities in my life.  I have also been on the road to the East Coast, where I had the opportunity to see the Allentown Symphony in concert in Allentown Pennsylvania, as well as a performance at the  Levine School of Music in Washington D.C.

Now back in Eugene and focusing on the blog, I will look forward to writing again about my consulting experiences and musical exploits.  Thanks for hanging in there and keeping watch on what dynamic arts is up to next!