With so many changes afoot in the American orchestral world, what do music directors see as particular challenges and opportunities? (more…)
Discussion Topic: Creativity
Topic: Audience, Community, Creativity | Tags: alan gilbert, charles dutoit, cleveland orchestra, franz welser-möst, gustavo dudamel, la phil, mtt, ny phil, philadelphia orchestra, san francisco symphony, video, Yannick Nézet-Séguin
November 6, 2012 by Beth Hondl | Comments (0)
How exactly does a conductor work with an orchestra? We asked several music directors to speak about their philosophy and technique. (more…)
In this day and age, what is the importance of the live music experience? (more…)
How has the relationship between the orchestra and its community changed over the past century? (more…)
How can orchestras use technology to engage with audiences? (more…)
Topic: Audience, Creativity | Tags: Afa Sadykhly Dworkin, brent assink, ed sanders, elizabeth scott, margo drakos, mason bates, matthew vanbesien, sunil iyengar, technology, video
October 15, 2012 by Beth Hondl | Comments (0)
When The Philadelphia Orchestra emerged from Chapter 11 bankruptcy in July 2012, the ensemble became a canary fluttering back out of a deep dark mine. Philadelphia’s path forward will be closely watched, and not only because music lovers at home and around the world have such a stake in this beloved institution. In both its difficulties and its stategies for confronting and transcending them, The Philadelphia Orchestra strikes a resonant chord with other American orchestras, large and small.
This podcast was developed from our June 2012 behind-the-scenes discussion.
Chapter Ten – Looking Ahead, in Philadelphia and Beyond
Topic: Audience, Community, Creativity | Tags: Afa Sadykhly Dworkin, alan gilbert, allison vulgamore, cleveland orchestra, deborah rutter, gary hanson, gustavo dudamel, jeremy rothman, joseph conyers, mtt, philadelphia orchestra, podcast, san francisco symphony, stanford thompson, steven winn, Yannick Nézet-Séguin
September 18, 2012 by Beth Hondl | Comments (0)
In this blog post, James Buckhouse, head of the Corporate Design team at Twitter, offers a new approach to “audience experience” using techniques drawn from technology and consulting companies. This post is the third of three winning entries from our recent American Orchestra Forum blog contest.
Your audience experiences your organization long before the lights dim and far past the final ovation. Inspired by the TED talk by Peter Gregson on the user experience of the performing arts, this free downloadable workshop adapts techniques from technology and consulting companies to help performing arts organizations take care of their audience.
Other industries map this path as an extended customer journey. Performing Arts organizations can borrow this process to create an extended audience experience.
In a way, every arts organization perpetually remains a start-up: new music emerges from the chasm of cultural shifts, new audience members catch the drift; new ideas tilt the emphasis from one approach to another; new means of distribution and communication mingle our lives and our art in a braid of narrativity.
So let’s start! Let’s start up a new approach to the arts that proves value and retains the best of the old traditions, but also celebrates the birth of art—the new and unnamed—and dares to iterate.
Download the Audience Experience Workshop PDF
Right-click the link above to download the workshop PDF or find it here: http://teamclassical.com/resources.html
James Buckhouse leads the Corporate Design team at Twitter, where he oversees the creation, production, strategy and design of all video and visual material for the company. Additionally, he is the founder of teamclassical.com. Prior to Twitter, he was Executive Creative Director at Duarte where he worked with Facebook, Google, HP and other high-profile tech companies. From 1996-2008, James built his story skills as a cinematographer and choreographer at DreamWorks Animation. James also served as a production designer for New York City Ballet, Oregon Ballet Theatre, and Pennsylvania Ballet.
Are professional orchestras pursuing artistic excellence at the cost of a true sense of community? In this blog post, Sam Tepperman-Gelfant argues that professional groups must “take the process of building community as seriously as they do perfecting their performances.” This post is the second of three winning entries from our recent American Orchestra Forum blog contest.
Community: it’s not just a polite word for amateur, it is the heart and soul of America’s thriving non-professional symphonies. Community orchestras deftly bridge the gap between classical performance and contemporary life that presents a daunting challenge to the future of classical music in this country. Building community is all about building relationships. The web of personal connections among performers, audience members, and the music itself give these groups a consistent energy and audience that many professional groups struggle to achieve.
I’ve played cello in the Bay Area Rainbow Symphony (BARS), for nearly five years now, and it’s hard to imagine life without it. Wednesday evenings I leave behind the workday to spend time with Brahms and Ravel, and also with my stand partner, David, and the other close friends I’ve made through the group. Many of us haven’t been motivated to practice since high school or college, but the camaraderie and connection (more…)
Have we all focused too much on the [America’s] Cup’s proven past rather than understanding its potential? As such, the resulting changes are substantial. It is crucial to end the uncertainty and lay the groundwork for continuity. To put in place a calendar of regular racing; exciting racing that is shorter and sharper and more spectacular. Racing that matches the expectations of the Facebook generation, not the Flintstone generation.
The America’s Cup and the American Orchestra have more in common than you might think, as Cheeko Matsusaka explores in this blog post. Originally from Newton, Massachusetts, Cheeko Matsusaka currently lives in Sarasota, Florida where she is a cellist with the Sarasota Orchestra. Hers is the first of three winning blog posts from our recent American Orchestra Forum blog contest.
— Russell Coutts, CEO Oracle Racing
What does the future of American Symphony Orchestras and the America’s Cup have in common? Aside from San Francisco, quite a lot. I’ve been following the event since the late 90′s and have always felt a strange sort of empathy for the Cup. It seems to share a common thread with professional music’s efforts to honor traditions and still allow the art to grow and have relevance to in a modern world. Both share the potential for breathtaking displays of beauty and power, but suffer from the old stereotype of closed doors and aloofness. Both struggle to dispel those misconceptions without alienating those who already support it. Both are trying to reach out to a new generation by jumping head first into the overwhelming mass of new technologies. The American Orchestra thoughtfully hesitates at this precipice, but the America’s Cup has the taken the fateful leap. I am watching carefully and taking detailed notes. If the planned America’s Cup event can maneuver a safe landing, they will serve as a standard bearer of adaptation and evolution in an era plagued by threats of extinction.
The thread between Orchestras and the America’s Cup resurfaced when I was having a bit of a disagreement with one of my colleagues. We were talking about a web and Facebook page for the musicians in my orchestra. The colleague thought we should focus our energies on a static webpage and forget about Facebook. He thought Facebook was a fad that would run its course. In addition, he feared we risked alienating people who didn’t do Facebook. Was he serious? (more…)
Mason Bates and Anna Clyne are both Mead Composers-in-Residence for the Chicago Symphony Orchestra. (They’ve also both joined us for conversations as part of the American Orchestra Forum.) In Chicago, they curate a program called “MusicNOW” which is experimenting with new ways to present contemporary music. A brochure for the upcoming 2012-2013 season promises concertgoers “the most exciting new music experience” in Chicago.
Andrew Patner wrote about a recent concert in the Chicago Sun-Times:
Over the years, a large, youthful and attentive audience has gravitated to these four new music programs… Free pizza and beer after the shows truly seem to be conversation enablers rather than the ticket-sale enticements they started out to be. Literally hundreds of people are in the Harris’ lobby going at it about music, composers and performance for at least an hour post-concert.
What is Chicago doing to attract this audience? The short answer is (more…)