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Collaboration in reaching new audiences

Collaboration in reaching new audiences. About this session. Developing audiences for contemporary classical music Setting up effective European collaborations What you will get from the project. The challenge. Other artforms. WHO IS IT FOR. Narrow. Wide. Artist-led Temple. VISION.

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Collaboration in reaching new audiences

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  1. Collaboration in reaching new audiences

  2. About this session • Developing audiences for contemporary classical music • Setting up effective European collaborations • What you will get from the project

  3. The challenge

  4. Other artforms

  5. WHO IS IT FOR Narrow Wide Artist-ledTemple VISION Audience-ledMarketplace

  6. WHO IS IT FOR Narrow Wide INTROVERTED Artist-ledTemple Artist-led, peer focused VISION Audience-ledMarketplace

  7. WHO IS IT FOR Narrow Wide INTROVERTED Artist-ledTemple Artist-led, peer focused VISION POSITIVE ACTION Audience-ledMarketplace Audience-led, socially focused

  8. WHO IS IT FOR Narrow Wide INTROVERTED Artist-ledTemple Artist-led, peer focused VISION POSITIVE ACTION MAINSTREAM Audience-ledMarketplace Audience-led, socially focused Audience-led, audience focused

  9. WHO IS IT FOR Narrow Wide INTROVERTED ACCESSIBLE Artist-ledTemple Artist-led, peer focused Artist-led, audience focused VISION POSITIVE ACTION MAINSTREAM Audience-ledMarketplace Audience-led, socially focused Audience-led, audience focused

  10. WHO IT’S FOR Narrow Wide 10 8 12 5 28 23 6 27 7 26 3 4 30 13 19 15 22 Artistic 20 1 17 16 9 21 18 VISION Audience

  11. Renewing the concert form

  12. Artisticvision Identity Programme Concert form Audience engagement Marketing/PR/ Communications

  13. Building a network

  14. The partners • Denmark: Danish Composers’ Society (www.komponistforeningen.dk) • Sweden: Swedish Composers’ Society (www.fst.se) • Norway: Norwegian Society of Composers (www.komponist.no ) • Finland: Society of Finnish Composers (www.composers.fi) • Slovakia: Music Centre Slovakia (www.hc.sk) • France: SACEM (www.sacem.fr) • Belgium, Wallonia: Wallonie-Bruxelles International (www.wbi.be) • UK: PRS for Music Foundation (http://www.prsformusicfoundation.com ) • Poland: Polish Composers' Union (www.zkp.org.pl) • Ireland: Contemporary Music Centre Ireland (www.cmc.ie) • Croatia: Croatian Composers’ Society (http://www.hds.hr) • Hungary: Hungarian Composers’ Union (http://www.hungaropus.hu ) • Belgium, Flanders: ISCM Vlaanderen (www.iscm-vlaanderen.be ) • Lithuania: Lithuanian Composer’s Union (www.lks.lt) • Latvia: Latvian Composer’s Union (www.lks.org.lv) • Austria: MICA Music Austria (www.musicaustria.at )

  15. The ensembles

  16. Effective collaboration

  17. Artisticvision Identity Programme Concert form Audience engagement Marketing/PR/ Communications

  18. Audiences for the project • People who are interested in contemporary classical music: either going to concerts or buying cds • Heavy consumers of other forms of music with eclectic tastes who have not yet developed an interest in contemporary music • People who are interested in other artforms but not contemporary music • Current audience of participating ensembles • Musicians, composers and ensemble leaders • Music teachers • Arts venue and festival programmers (organisers) • People with a professional interest in audience development from across the performing arts • Academics with research interests including classical music, arts management, audience development

  19. Success criteria • Get bigger audiences • Exchange and collect knowledge • Do better marketing

  20. Getting new audiences online • 88% of European searches are with Google • 70% of all clicks on Google are for the first three listings on the first page

  21. Quick fixes • 100 words on your home page • Use the words they search for • Sort out your title tags

  22. Quick fixes • 100 words on your home page • Use the words they search for • Sort out your title tags • 65 characters • What you do then who you are • Most important words first • Use the words they search for

  23. Evaluation

  24. What is audience development? • More people • Different kinds of people • People enjoy it more • People feel they understand it more • People listen to the ensemble more

  25. Did it work?

  26. Principles • This is what we did • This worked • This is why it works • This did not work • This is what went wrong • Simple research methods • Information to help ensembles, not academics

  27. Simple research methods • What four or five words would you use to describe this concert?

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