Connect: Design Thinking for #Audience Development

The UK based Audience Agency and Goldsmiths University are launching a pioneering new programme as part of a European partnership funded by Erasmus +.

Challenge: finding new audiences

Anne Torreggiani, The Audience Agency CEO: “This is a fantastic opportunity to take part in a free professional development programme co-created with some of Europe’s leading audience development thinkers and practitioners. It takes a very experiential approach to learning for those of us who prefer to learn-by-doing and introduces some of the best new ideas from the wider creative industries to help us evolve our engagement practice. Help us to shape this programme for the wider sector next year.”

This ‘twin track’ programme brings culture professionals and post-graduate students together to develop and test strategic approaches to audience development, including an introduction to user-centred service design and action research. It consists of 7 one-day modules at Goldsmith’s College, London, combined with in-organisation development of an action research project. Participating organisations will host students on internships and all participants will be supported by an independent mentor. On completion of the programme, participants will receive a professional certificate from Goldsmith’s University.

Deadline for applications is October 15, 2018.

More information and application

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Aurora Orchestra, Lahti Symphony Orchestra and Les Talens Lyriques Bag Innovation Award

Lahti Symphony Orchestra from Finland, Aurora Orchestra from the UK and the t@lenschool app from France are the three winners of the 2018 Classical:NEXT Innovation Awards. Good examples for other orchestras and ensembles to thrive their own innovation activities.

Awarded: Lahti Symphony

Lahti Symphony Orchestra from Finland was awarded for their efforts to reduce the pace of global climate change by gradually making the orchestra’s activities carbon-neutral. The project is backed by Myrskyvaroitus – Storm Warning Association and carried out in collaboration with the Lahti-based Environmental Technology unit of the Lappeenranta University of Technology (LUT). On winning the award, Teemu Kirjonen from Lahti Symphony Orchestra said:

“Good planets are hard to find. Climate change is threatening the one we are living on at the moment. The project Carbon-Free Lahti Symphony Orchestra is not about the orchestra trying to be the superheroes and saving the world alone but one of the main principles is to raise attention that every one of us can, should and must do our share to save this planet for the future generation. We have the music, we have the arts and have all the means to reach everyone, all the societies, let’s do something big and let’s do it together”

Aurora Orchestra, the renowned and versatile British chamber orchestra were awarded for combining their highest-standard performances with adventurous programming and trailblazing concert experiences. Representing Aurora Orchestra, John Harte shared,

“The fact that this award is voted for not by an anonymous jury in a dusty room somewhere behind the closed doors, but by our colleagues and peers from around the globe is a source of particular pride and very honored to be shortlisted alongside just distinguished organizations, each of which is doing hugely important work in building the classical landscape of the future”

The t@lenschool project by Les Talens Lyriques from France were awarded for their innovation in creating musical practice and listening apps that assist with composing, conducting and playing the harpsichord.

Fabienne Krause: “A key competence of our everyday life in the performing arts is empathy, be it to establish co-operation for business, to lead an orchestra, to connect to audiences as an artist or manager or to give back to your communities. It’s no wonder: art is a human expression of how we understand the world. Empathy is essential as an artist. It is also essential to understand art itself.”

Neil Wallace, Programme Director of the de Doelen: “A few years back, Anthony Sargent stood up here, giving a farewell comment on what he had experienced and he said Classical:NEXT was not a forum for business to business, it was a feeling more like a movement, and that term of his came back to me personally more and more as this edition of Classical:NEXT proceeded. I was inspired and made inquisitive in a way I had never been before and I have been feeling stronger and stronger these days, whether it is in the structured debates of the countless thousands of unstructured conversations that we really do something and even if we cant do put a label to that there is something more important than it has ever been and that is Classical:NEXT. If we carry on developing and nurturing this movement, with where we are at this moment with progress, whether in music, or society or even in humanitarian goals, progress is not just possible but it will be inevitable.”

First @ClassicalNEXT 2018 Conference Speakers Official

Know-how from print to video and from business to art

Rotterdam/Berlin As the early bird registration deadline approaches (19 January), the global art music meeting Classical:NEXT has announced the first speakers and conference topics for its 2018 edition in May. Delegates will be presented a wide array of insights, tackling the role of print programmes, of engagement through video and of reconciling business and artistic demands better.

Classical:NEXT

An international expert panel of seven has selected the most forward-thinking approaches from hundreds of proposals, offering solutions to the crucial issues of classical and art music today. Successful network formats and interactive workshops are to be continued. Although less than a third of the conference programme is announced, a trend is already recognizable: The 2018 programme of Classical:NEXT will go deeper into the specifics of topics – building skills and offering insights the expected 1,200+ delegates can take home and use in their everyday work.

For 2018 speaker Dr. Stefan Rosu, artistic director & ceo  of the South Netherlands Philharmonic this couldn’t be more important today: “Concentrating on core-competencies and exploring new ways to collaborate are in my opinion the key factors to the long-term survival of the professional classical ensemble. Classical:NEXT is currently THE platform to discuss those issues.”

Learn more: http://www.classicalnext.com/program/conference/overview

 

Live Screenings to recrute orchestras new audiences

Concerts of orchestras performing live music and a movie on screen have become more popular in the last few years. These formats are expensive (scores, performing rights, technichal equipment etc.). However, they are very successful. Orchestras are reaching out to a far more diverse audience, compared to a ‚normal‘ classical concert.

Movie screen behind the orchestra

An interview with Mae Crosby – a specialist in live film concerts – about the topic situation and on the great potential of this art form is a must-read:  http://symphonyinternational.net/just-a-fad-film-screenings-with-live-orchestra/

First Detailed Report on US #Orchestras’ Education and Outreach Work

Study Finds Growth in Number of EdCE Program Participants, Diversity of Participants, School and Community Partnerships, and More. Almost Two Thirds of Participants Took Part in EdCE Programming Free of Charge, and 85% of all EdCE Sessions Took Place Outside of the Concert Hall.

Children_instruments

Orchestras: relevant to kids & people & coummunity

New York, NY (August 15, 2017) – For the first time, the League of American Orchestras has issued a detailed report on the scope and scale of orchestras’ education and community engagement (EdCE) work.

Of and For the Community examines the purpose and scope of these activities, reporting on topics including EdCE programming, participant diversity, community partnerships, investments in professional development, and income and expenditure for EdCE concerts and events. While the League last surveyed member orchestras on EdCE programming in 2008, the report is the first to investigate current field interests such as diversification of orchestra EdCE programming and artistic costs associated with this work.

Orchestras reported growth over the period 2009-14 on each of the following measures:

  • the number of EdCE participants engaged;
  • the racial/ethnic diversity of EdCE participants;
  • the number of EdCE concerts produced;
  • the range of EdCE activity types undertaken;
  • the extent of school and community partnerships developed;
  • the number of staff hours dedicated to EdCE activity; and
  • the budget available for EdCE work, relative to the orchestra’s overall budget.

Almost two thirds of participants took part in EdCE programming free of charge, and 85% of all EdCE sessions took place outside of the concert hall.

“More than ever before, education and community engagement programming is central to orchestras’ organizational visions, as they actively seek out new opportunities for creative expression and connection,” said League of American Orchestras President and CEO Jesse Rosen. “The League has been a catalyst for addressing this profound shift in our field’s focus, and we’re seeing increases in the scope of this work and a greater acknowledgement of its importance.”

Making use of the League’s field-wide data and drawing on a dedicated survey of League of American Orchestras’ member orchestras, the study looks at both the current landscape and longitudinal trends from the five-year period between 2009 and 2014. The 98 survey respondents included adult orchestras with and without affiliated youth orchestras, as well as independent youth orchestras. U.S. orchestras of all sizes from across the country took part.

Key findings from Of and For the Community:

  • Growth and diversity of participants:

82% of orchestras surveyed stated that the number of EdCE participants in their programs had increased over the five-year period 2009-2014.

70% of all EdCE participants were believed to be 18 years old or younger.
61% of orchestras reported that their EdCE participant base was more diverse in 2014 than it had been in 2009.
38% of EdCE participants were believed to be African American, Hispanic/Latino, Asian/Pacific Islander, or American Indian/Alaskan Native, and 62% were believed to be white.

  • Diversification of the range of EdCE program types:

69% of survey respondents confidently reported a greater range of program types in 2014 than in 2009.

  • Increase in number of EdCE concerts: 

Almost half of the survey cohort reported that the number of EdCE concerts they performed had increased during the five-year period 2009-2014.

  • Increase in partnerships with school and community-based organizations:

Two thirds of all responding orchestras reported that the extent of their partnership work had increased during the five-year period 2009-14.
79% of orchestras surveyed reported working with schools.
63% reported working with community (non-school) partner organizations.
34% had worked with (non-school) community partners focused on youth engagement.
26% had worked with health and wellness organizations.
24% had worked with senior services providers.
17% had worked with organizations focused on racial diversity and inclusion.
13% had partnered with organizations working to address poverty in their communities.
Orchestras also reported having worked with organizations dedicated to homelessness (10%), mental health (8.2%), domestic violence and abuse (4.1%), criminal justice (3.1%), bullying (3.1%), young people in the foster care system (3.1%), and school drop outs (3.1%).

  • Orchestras’ investment in EdCE work is increasing:

Almost half (47%) of the 85 orchestras in our cohort of adult orchestras (and their affiliated youth orchestras) stated definitively that the budget available for EdCE programming increased in the period 2009-14, relative to their overall budget.

  • Orchestras serve communities:

Almost two thirds of participants took part in EdCE programming free of charge.
85% of all EdCE sessions (incorporating both concerts and other musical activities and events) took place outside of the concert hall.
83% of orchestras surveyed offer the opportunity to meet musicians and/or explore orchestral instruments.
Over 80% offer performances by smaller professional groups of orchestral musicians, which enables this work to take place in a wider range of community venues.
73% offer in-person lectures or talks.
73% of community-based EdCE sessions took place in schools.
68% of orchestras surveyed present family or school concerts, making the unique cultural experience of the full symphony orchestra welcoming and accessible to a large community audience.
61%* offer the opportunity for amateur musicians to rehearse and perform alongside orchestra musicians (*percentage does not include independent youth orchestras).
51%* offer individual instrumental instruction (*percentage does not include independent youth orchestras).
34%* run a community orchestra for adults, and 30%* run an adult community choir (*percentages do not include independent youth orchestras).
27% of community-based EdCE sessions took place in non-school venues including:

  • healthcare setting
  • civic institutions (such as museums or libraries)
  • religious buildings
  • civic spaces (such as parks and town squares)
  • care homes for the elderly
  • youth and community centers
  • criminal justice settings
  • community festivals or parades
  • social care centers
  • shelters

Download Of and For the Community: The Education and Community Engagement Work of Orchestras here.

This report was made possible by the generous support of The Andrew W. Mellon Foundation and the National Endowment for the Arts, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Read the full press release here.

Safety tips for professional #musicians to survive in an #orchestra

An orchestra is a very special workplace: “A colleague is a musician who plays the same instrument, but not as well as you do”. If you work together with some 80, 90 or 100 highly talented idividuals but have to become an artistic unit on stage whilst performing a peace of music, it is very important to understand your own role and behaviour as well as those of the colleagues. “Who has got colleagues in an orchestra doesn’t need any other enemies”, another musicians joke (?) says.

For example: the Montreal Symphony Orchestra

String players from Kentucky (US) have tried to write down 39 rules and safety tips for professional musicians how to behave/survive in an orchestra. Most of them are simply true and extremly helpful. Find more about here: http://www.violinexcerpts.com/38-orchestra-dos-and-donts/

At least, it’s a question of self-conception, professionalism and corporate behaviour and spirit to work together in an orchestra.