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WHY WERE HERE

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A. Kansas City Symphony - Digital Storytelling Project ... The Beatles and Paul McCartney. Madonna. Nine Inch Nails. Metallica and the San Francisco Symphony ... – PowerPoint PPT presentation

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Title: WHY WERE HERE


1
WHY WERE HERE
2
To explore how technology can be utilized to
enhance the concert experience and music
education
3
The significant problems that we face cannot
be solved at the same level of thinking we
were at when we created them. Albert Einstein

4
GAME PLAN
I. Concert as Multimedia Event II. Education
and Technology A. Kansas City Symphony -
Digital Storytelling Project B. New World
Symphony - Internet II C. Sample Websites
III. Concert Companion Initiative - Overview
Demonstration
IV. Nine Points for Consideration
V. Discussion
5
Why Is This Necessary?
6
Classical Music Segmentation Study John S. and
James L. Knight Foundation
Orchestras are adrift in a sea of classical
music consumers who rarely, if ever, attend live
orchestra concerts. Only half of those who
express the very highest levels of preference for
attending classical music concerts actually
attend, even infrequently.
Results from the study offer a sweeping view of
an art form in transition and an orchestra field
increasingly detached from its potential
customers.
Not long ago, orchestras were the dominant, if
not sole providers of classical music in their
communities. Now, consumers integrate classical
music into their lives in many settings and for
many reasons. They see orchestra concerts along
a continuum of arts and entertainment offerings.
7
Unless and until orchestras decide their mission
is to serve audiences in the ways audiences want
to be served, they will never attract more than
the current three to four percent. And I would
argue that as demographics change, they wont
even be able to retain that.? Penelope McPhee,
John S. and James L. Knight Foundation
8
Some people find the visual aspect of the
concert experience uninteresting, at best. What
can orchestras do to enhance the visual and
emotional value of the concert setting?
Classical Music Segmentation Study John S. and
James L. Knight Foundation
9
Symphonic culture is not part of today's
intellectual life - unlike museum culture or
film culture. Concert rituals as we know them
were locked into place by 1900, and the field of
symphonic music has suffered from the idea that
things never change.? Joseph Horowitz, Music
Historian
10
I. Concert as Multimedia Event
  • The Beatles and Paul McCartney
  • Madonna
  • Nine Inch Nails
  • Metallica and the San Francisco Symphony
  • Kronos Quartet
  • Lincoln Center (Noise of Time)
  • Oregon Symphony (Defiant Requiem)
  • James Westwater (Music with Vision)
  • Atlanta Symphony (A Sea Symphony)

11
Companies stage an experience whenever they
engage customers, connecting with them in a
personal, memorable way.Joseph Pine, The
Experience Economy
12
''The Noise of Time'' shatters the normal
protocols of concertgoing... The actual theater
piece that provides a context for the
performanceof the quartet, which uses taped
readings of poetry, letters and autobiographical
materials as well as projected photographs, film
clips and four silent actors, is by turns
fascinating and exasperating. New York Times
13
The Defiant Requiem
Remarkable example of how orchestras can make
use of multimedia and theatrical effects
Presented in a large convention hall, staged to
create the effect of being in a concentration
camp
Reenactment of performance of Verdis Requiem
by interned Jews of the Terezin concentration
camp during WWII
Included actors, filmed interviews with
survivors, theatrical effects, vocal soloists
and choruses and readings of text
14
Audience members storm out of a performance in
Symphony Hall, fed up with intrusions into their
weekly elixir of classical music. At the same
time, others cheer the innovations and feel a
palpable buzz in the concert hall. The Atlanta
Journal and Constitution
15
One mans anesthesia is another mans
revelation.
"We have been subscribers for more than 30
years, we see you offering a variety of novelty
items aimed at persons who don't care much for
traditional offerings. You may attract some of
them but they will never stay. Meanwhile, you
are alienating the faithful. If the music can't
stand on its own, the gimmicks will never save
it." (ASO subscriber)
"I enjoyed the video and am excited to see more.
I thought it was cool. I was challenged. I like
it when people are trying to push an art form -
that keeps it from being stagnant. (ASO
subscriber)
16
II. Education and Technology
  • The Kansas City Symphony
  • Of War Remembrance - Ashleys Story
  • The New World Symphony
  • Internet II

17
Websites
San Francisco Symphony
Boston Symphony - Online Conservatory
Andante.com
18
III. The Concert Companion
Purpose
To provide a visual enhancement of the concert
experience - in the concert hall.
Much as audio tours - museums and supertitles -
opera.
19
Research Highlights
The better people understand an activity, the
more likely they are to enjoy it. Rand A New
Framework for Building Participation
The greatest single determinant of a person
returning for a second time is the depth of
experience they had when attending the first
time. Kennedy Center Learning Audiences
The classical orchestra experience is an
educational and continual learning
experience. American Symphony Orchestra League
Audience Motivation Research Project
The single most significant factor correlating
to enjoyment How knowledgeable I am about music?
How familiar I am with the music? American
Symphony Orchestra League Audience Motivation
Research Project
Most Americans have not had any form of arts
education. National Endowment for the Arts
20
IV. Nine Points for Consideration
1. Mission and Purpose serving the art form
versus serving the audience?
2. Audience who are we serving and what do they
want?
3. Venue what is required in a 21st century
concert hall?
4. Program must the music itself be enough?
5. Technology whats possible and whats
appropriate?
6. Musicians - hiring and training how can
musicians be part of the new vision?
7. Artistic Leadership is the traditional role
of music director still appropriate?
8. Funding and Governance are the conventional
models appropriate?
9. Strategic Partnerships is success more likely
through collaborative relationships?
21
V. Discussion
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