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Classical Music

 | 
Paul Boghossian
, 
Michael Beckerman

Part II

12. Expanding Audiences in Miami: The New World Symphony’s New Audiences Initiative

Howard Herring et Craig Hall

Texte intégral

Introduction

1The New World Symphony (NWS) is a hybrid educational and artistic institution, an orchestral academy that prepares graduates for leadership positions in orchestras and ensembles. Unique in American music, it is also a research and development facility. The program is built around eighty-seven Fellows, each fulfilling a three-year course of study and performance. They are at the center of a dynamic educational experience that annually includes seventy performances, 200 community engagement events, and robust leadership training. NWS advances its mission in a Frank Gehry-designed campus that is at the intersection of music, education, architecture, and digital technology. 1,200 applicants seek thirty annual openings. An undergraduate degree is required for acceptance. Most Fellows hold a master’s degree. NWS is committed to a diverse community. On average, 15–18 % of the orchestra are players of color. The number of alumni stands at 1,150, with 90 % of these actively involved in classical music and making a difference in the field.

2From this platform, NWS pursues a New Audience Initiative, an acquisition system that can be useful for professional orchestras and presenters of classical music.

A Start-Up Mentality

3“Whoever thought a start-up could change the way people feel about classical music?” is the opening sentence of a LinkedIn post by Michael Moritz, venture capitalist and partner of Sequoia Capital (Moritz, 2013). Moritz’s observation sets the context for New World Symphony’s search for new audiences. In his statement, two important understandings are revealed. Start-up implies inventing a solution to a difficult problem. And those who oversee this invention are concerned with how people feel about classical music. People who have known this music for a lifetime, people who have yet to encounter its magic, and everyone in between.

4Led by founding artistic director Michael Tilson Thomas (MTT) and in the company of Fellows who will become classical music leaders, the New World Symphony has been pursuing new audiences since its inception.

Early Days

  • 1 The Knight Foundation is a national foundation which invests in journalism, the arts, and in the su (...)

5In 1980, the US Census asked a question for the first time— “Have you attended at least one classical music concert in the last year?” In that year, 13 % of American adults said yes (US Census Bureau, 1980). By 2017, only 8.6 % answered in the affirmative (National Endowment for the Arts, 2017). The decline was steady in that thirty-seven-year period. In the 1990s, music lovers and orchestra professionals became concerned about the diminishing audience. This prompted a variety of responses, including the Knight Foundation’s creation of the Magic of Music program.1

The Magic of Music Program

6In 1994, the New World Symphony was invited to join fifteen professional orchestras in the Magic of Music program. The Magic of Music program initially created a $5.4 million, five-year initiative to encourage orchestras to be more entrepreneurial with their audience building initiatives. In 1999, the foundation approved a second phase spanning from 2000–2005 and expanded the funding of the program to a total of $13 million (Knight Foundation, b). With the encouragement of generous funding from the Knight Foundation, the New World Symphony launched a series of audience engagement experiments. The work was led by Michael Tilson Thomas, the staff, and Fellows of NWS. A review of findings reveals the importance of this work.

7The first phase of the Magic of Music project can be summarized as follows:

  • Repertoire from the Western canon does not attract new audiences even when played at the highest levels of excellence.

  • Bringing prospects to their first concert experience is only the beginning of the development of a relationship.

  • Serious audience development requires fundamental change in the understandings and behaviors of all orchestral constituents.

  • Performances outside the concert hall have high value in attracting prospective audiences.

8In the second phase of the Magic of Music, a market study reoriented all participants (Knight Foundation, 2002). Findings included:

  • The prospective audience is much larger than most orchestra leaders believe.

  • Beyond live, traditional performances, there are multiple distribution channels that connect listeners to the music in meaningful ways.

  • A significant number of prospective audience members did not find the concert hall to be the preferred venue for a classical music experience.

  • Affinity for classical music did not translate into attendance at concerts.

  • 74 % of ticket-buyers played an instrument or sang in a chorus at some point in their life (Wolf, 2006: 32).

9In the program’s final report, The Search for Shining Eyes, issued in 2006, the Knight Foundation’s leadership chose to turn away from stopgap funding and focus on transformational change that would lead to a reversal of the declining audience trend. In an environment of experimentation and with the Knight Foundation’s Magic of Music funding, the New World Symphony began to explore contextualized presentations, informal concerts in non-traditional venues, the use of ultra-high-speed Internet in bringing composers into the concert experience, and theatrical lighting and effects.

10Throughout his career, Michael Tilson Thomas has demonstrated the power of contextualized presentations for the benefit of all members of the audience. NWS Fellows, eager to share their music-making with the broader public, were ideal Magic of Music participants. As an institution, NWS understands itself as a laboratory for generating new ideas about the way music is taught, presented, and experienced. Over the course of the ten years of the Magic of Music program, NWS began to capitalize on its unique skills and structure. Research results from Magic of Music formed the foundation for a second, more intense effort funded by the Andrew W. Mellon Foundation.

11The Magic of Music initiative coincided with the period of program articulation and architectural design for the New World Center, NWS’s new campus. Beginning in 2002, Michael Tilson Thomas and senior staff started to reimagine the educational and artistic future of the New World Symphony. NWS’s mission is to train graduates of music schools for leadership in classical music. That mission was the basis for imagining a dynamic, unique, and Fellow-centric educational program that prepares graduates for an unpredictable future. In turn, the program guided Frank Gehry and his team in the design of the New World Center.

12As design led to construction, NWS crafted a vision statement: NWS envisions a strong and secure future for classical music and will reimagine, reaffirm, express, and share its traditions with as many people as possible. From the conclusion of the Magic of Music program in 2005, the forces that guided NWS’s physical transformation have driven the institutional emphasis on the pursuit of new audiences.

The New Audience Initiative

13Beginning in 2008, and with funding from the Andrew W. Mellon Foundation, NWS developed a sequential system for audience acquisition based on the following steps:

  • Identify a prospective audience based on age, affinity, geographic proximity, lifestyle choices, and similar factors.

  • Design an experience that would attract individuals from this group.

  • Place classical music at the center of this experience.

  • Describe and market the experience to the target prospects.

  • Execute the experience including a performance of the chosen symphonic repertoire at the highest level of artistic excellence.

  • Survey the audience.

  • Analyze the survey results.

  • Compare analysis with intuitive judgement.

  • Reimagine the experience.

  • Repeat the cycle.

Fig. 1 New World Symphony’s performance and research cycle for audience acquisition and engagement. Graphic by Howard Herring and Craig Hall (2012),

© 2012, New World Symphony, Inc. All rights reserved.

14In the first years, three prospective audiences were identified.

  • Curious twenty-somethings with varying exposure to classical music. This group included the Friends of New World Symphony, a philanthropic membership organization for young adult patrons looking for a social and networking vehicle. This group previously had little connection to classical music (New World Symphony, b).

  • Casual strollers on Lincoln Road, the pedestrian mall in front of NWS’s original performance home, the Lincoln Theatre.

  • Residents who are attracted to the Miami Beach club scene.

  • 2 WolfBrown is a consultancy and works with funders, nonprofit institutions and public agencies on re (...)

15NWS designed specific performance experiences for these groups and established a research program with WolfBrown to assess the efficacy of each experience.2

  • For the curious, younger, and newer prospects, Symphony with a Splash—a two-part event with a reception followed by an hour of contextualized performance. Author, narrator, and filmmaker Jamie Bernstein developed and delivered the scripts.

  • For the Lincoln Road pedestrians, a thirty-minute Mini-Concert—priced at $2.50 and scheduled at 7: 30pm, 8: 30pm, and 9: 30pm.

  • For the club goers, Pulse—Late Night at the New World Symphony—a 9: 00pm to 1: 00am event with DJ-spun electronic music alternating with orchestral sets.

Results for Each Alternate Format

16Symphony with a Splash/Encounters put the emphasis on the reception with music to follow. Via survey results, the audience was quick to say they wanted the music first. The order was reversed, and the experience renamed Encounters. From inception, 25 % of the audience was new to the organization’s database. This was more than double NWS’s standard of 10–12 % for traditional concerts. Yet, 75 % of the audience were returning patrons. Based on survey results, NWS learned that contextualization of the music was important to both the new and returning audience members.

17Encounters served a second purpose, to engage members of the Friends of the New World Symphony. Encounters was a natural and popular way for them to be drawn into the music and better understand the mission and vision of NWS. Audience survey and focus group results made it clear that contextualization and informal relationships between Friends and Fellows led Friends members to unexpected musical transformations and more energetic advocacy.

18The survey results for the audience of Encounters included the following:

  • 25 % of attendees were new to the database.

  • 95 % of first-time attendees said the concert had a positive influence on returning to a future NWS concert.

  • Informational and theatrical elements enhanced the event for infrequent attendees of classical music.

  • Focus groups with first-timers showed a preference for this type of event over traditional concerts.

19Mini-Concerts were thirty-minute events offered on Friday and Saturday nights at 7: 30pm, 8: 30pm, and 9: 30pm. Tickets were offered for only $2.50. The offering was designed to lower an individual’s required investment of time and money. After a short introduction delivered by a Fellow, the orchestra played one musical work. There was often a simple video image to set the mood. Before 2011, when these concerts were staged in the Lincoln Theatre, there was immediate proximity to Lincoln Road Mall patrons who were spending the evening dining, shopping, and people-watching. A street team of New World marketing staff and Fellows engaged those who were casually strolling in front of the Lincoln Theatre, often convincing them on the spot to come in for a classical music experience.

20In 2011, when New World Symphony made the move from the Lincoln Theatre to the New World Center just one block north of Lincoln Road, it lost the direct relationship to pedestrians. Without access to this prospective audience, attendance faltered. Knowing the value of Mini-Concerts to first-time attendees, NWS reinvented the strategy. Its new focus became affinity groups including yoga enthusiasts, cyclists, and running clubs. The yoga audience proved to be loyal and curious. Currently, New World Symphony offers yoga experiences with and without music. These events have helped NWS attract major sponsorship by local health care organizations.

21A summary of the Mini-Concerts audience survey results told us:

  • This audience is significantly new and slightly younger than traditional audiences with 45 % new to the database and 44 % under fifty-five years of age.

  • 88 % reported a strong emotional response.

  • 33 % of the audience stayed for a second performance. (Each scheduled performance featured a different musical work.)

  • 91 % said they were more likely to attend a future NWS concert as a result of the experience.

Fig. 3 NWS Fellow, Grace An, gives an introduction during a Mini-Concert (2012). New World Center, Miami Beach, FL. Photo courtesy of New World Symphony.

© 2012, New World Symphony, Inc. All rights reserved.

22PulseLate Night at the New World Symphony targets younger prospective concert attendees who are attracted to the club-style entertainments of Miami Beach. The experience begins at 9: 00pm with a DJ spinning in the performance hall. As the crowd gathers, the energy in the performance hall increases. At 9: 45pm, NWS offers its first classical set, twenty to thirty minutes of edgy, often contemporary music. The evening goes back to the DJ in anticipation of the second and final orchestra set at 10: 45pm. At 11: 30pm, the DJ continues to spin in the performance hall while NWS offers chamber music in the quiet of the hundred-seat SunTrust Pavilion, a separate room typically used for chamber performances within the New World Center.

23Throughout Pulse, lighting and video elements are coordinated with the music. The NWS video team finds Pulse to be fertile ground for mixed-media experimentation.

Fig. 4 NWS Conducting Fellow, Joshua Gersen, leads Pulse—Late Night at the New World Symphony. The proximity of the audience to performers and the freedom to take photos (red circles) and enjoy drinks in the concert space (yellow circles) contribute to the interactivity of the event. Knight New Media Center environments invite social media sharing of Pulse using mobile phones and other digital devices. Photo by Rui Dias-Aidos (2013), New World Center, Miami Beach, FL.

© 2013, New World Symphony, Inc. All rights reserved.

24Pulse occurs twice per season. Audience survey results show the following:

  • After eight years, it continues to be one of the hottest tickets in Miami. Dynamic pricing—which increases the ticket cost as the date of the event approaches—carries the $25 ticket price to $60.

  • 40 % of the audience is new to the database.

  • The median age of attendees is thirty-eight.

  • Focus group participants have requested additional classical music sets and want to engage with the music afterward. Set lists provide them with the information they need to search and download the music they have heard.

  • When asked to define the experience, audience members are unable to find a single word that would encompass the many facets of the experience.

  • Pulse audiences engage in a wide variety of activities at the event, highlighting the participatory nature of the experience.

Fig. 5 The chart indicates the variety of activities in which audiences engage throughout Pulse—Late Night at the New World Symphony. The audience experience at Pulse is participatory—much more than traditional concerts—and is highly customizable to the preference of each audience member. Research and results compiled by WolfBrown in partnership with New World Symphony.

© WolfBrown dashboard, www.intrinsicimpact.org. All rights reserved.

Wallcast® Concerts

Fig. 7 WALLCAST® concert outside the New World Center. WALLCAST® concerts are produced in the Knight New Media Center at the New World Center campus. Photo by Rui Dias-Aidos (2013), New World Center and SoundScape Park, Miami Beach, FL.

© 2013, New World Symphony, Inc. All rights reserved.

25The NWS vision statement is the philosophical underpinning of the WALLCAST® concert phenomenon: “the New World Symphony envisions a strong and secure future for classical music and will reimagine, reaffirm, express, and share its traditions with as many people as possible” (New World Symphony, a). The design of the performance hall/outdoor simulcasting system was driven by the desire for sharing traditions with as many people as possible. Ten robotic cameras and an immersive microphone distribution allow the NWS audio/video staff to capture concerts at an unparalleled level of sophistication. The resulting audio/video is transmitted to a 7,000 square foot projection surface on the primary façade of the New World Center. A Meyer Constellation sound system synchronizes with the video to produce a three-dimensional sonic environment. The audience gathers in SoundScape Park, a 2.5- acre public park designed in conjunction with the New World Center. WALLCAST® concerts are free to the public and attract 1,500 to 3,500 people per event. NWS simulcasts between ten to twelve WALLCAST® concerts per year. After ten years, WALLCAST® concerts have become a cultural center in South Florida. They have created yet another NWS audience.

26Several performing arts organizations around the US are planning outdoor simulcasting based on the WALLCAST® model. They include the Kennedy Center for the Performing Arts, the University of Michigan, the Kentucky Performing Arts Center, the Germantown Performing Arts Center in Memphis, TN, and Oklahoma State University.

27The WALLCAST® concert audience is defined in the following ways:

  • 75 % have never purchased a ticket to a New World Symphony concert.

  • 70 % are under the age of sixty-five, compared to 19 % for traditional concerts indoors.

  • 80 % attend in groups of five or more people.

  • 56 % are infrequent attendees of classical music events, attending two or fewer classical concerts in the past year.

  • 34 % self-report their ethnicity as African American, Hispanic, or racially mixed compared to 11 % for traditional indoor concerts.

  • The top three reported motivations for attending are:

    1. Experiencing music in a relaxed and social environment,

    2. Spending quality time with family and friends, and

    3. Enjoying Miami Beach’s public SoundScape Park.

Audience Development— Current Observations

28Most major American orchestras serve a small percentage of the populations of their metropolitan areas. According to the Magic of Music research, on average only 3–4 % of a city’s residents attend symphonic performances (Wolf, 2006: 32). A primary assumption of NWS’s New Audience Initiative is that alternate performance formats can be effective in attracting new concert goers, expanding the reach of live performance. The following graph indicates results to date (see Fig. 9).

Fig. 9 Percent of first-time attendees by concert format at New World Symphony. Graphic by Craig Hall (2015).

© 2015, New World Symphony, Inc. All rights reserved.

29The market study done during the second phase of the Knight Foundation’s Magic of Music research indicated that far more people had a relationship with classical music than were buying tickets (Knight Foundation, 2002: 7). NWS has proof of this concept. 75 % of the WALLCAST® concert audience has never purchased a ticket to an NWS concert. Over the past twelve years, NWS has used alternate formats to create 15,877 new accounts for patrons with whom it had not previously had a relationship. 30 % of these accounts have purchased tickets for a second NWS performance. This begs a fundamental question. How can NWS specifically, or American orchestras in general, transition prospective audiences from reluctant to curious to attending? Taking one more critical step, the audience can only grow if the first-timers return. NWS has promising statistics.

Fig. 10 First-time attendees to alternate performance formats at NWS return at a higher rate than first-time attendees to traditional concerts at NWS. Graphic by Craig Hall (2018).

© 2018, New World Symphony, Inc. All rights reserved.

30Tracking of ticket purchases indicates that first-timers are most likely to return to the format that drew them initially. While the hope was that first-timers might begin to explore other alternate formats and/ or traditional presentations, NWS now realizes the value of multiple audiences. There are five conclusions that could be helpful:

  • NWS has seven distinct audiences based on the experiences; traditional, chamber music, family, new music, contextualized, Pulse, and WALLCAST® concerts. Of these seven, only the first two attract an average (10–12 %) number of new attendees. There is little crossover between these audiences.

  • Orchestras must be one step ahead of their audiences, identifying prospective groups then designing experiences to attract and engage them.

  • The center point of each alternate format must be an excellent performance of serious music.

  • Listening carefully to prospective audiences is essential to the acquisition process.

  • Engaging new audiences is costly and requires a long-term institutional commitment. However, ignoring the need for new audiences is far more costly in the long run.

Next Steps at the New World Symphony

Encounters to Double Take

31As mentioned earlier in the text, Encounters was a one-hour contextualized concert followed by a reception for musicians and audience members. Over the years, Fellows—guided by MTT—have become more involved in the design and execution. These themed concerts have proven productive in gathering new audiences. An NWS concert called Heard It Through the Grapevine was based on the association of wine and music and was led by cello Fellow Hilary Glen and a master sommelier. Another Fellow-led concert, Fiesta Cubana, was for the Cuban Americans of Miami with visual art, folk and dance music, and orchestral music sharing the focus. Dimensions and Mixtape gave Fellows a chance to speak directly and personally about their associations with specific pieces of music.

32The most recent format, Double Take, goes one step further, with the Fellows becoming even more sophisticated with their contextualization of the repertoire, drawing parallels to personal experiences. These formats are traditional-length concerts. The post-concert interaction remains in place and is essential to the success of the format. In the 2018/19 season, NWS targeted family audiences with Face Off—A Battle of the Instruments.

33As Fellows have taken on greater responsibility in creating the concert experience and contextualizing the music, the number of new audience members at each performance has increased slightly, from 25 % to 30 %. And the return rate of those first-timers has thus far mirrored that of traditional audiences at 21 %. Return rates increase as time passes.

34Now the expectation is that a third of the audience for Double Take will be attending their first New World Symphony concert. The challenge is to discover the reason for this increase.

Pulse—Don’t Argue with Success

35Pulse continues to bring first-timers. It is unlike any other NWS performance, so it is a greater challenge to direct Pulse attendees to other formats. However, it is a brand-defining format for NWS in Miami and the national orchestra community. As a model for others, it is a raucous call for innovation. Even with this success, it is not too soon to evolve this format to keep it fresh.

NWS Goes to the Community

36During the 2017/18 season, NWS staged two significant community-based initiatives, Project 305 and a week of Community Concerts. Funded by a major grant from the Knight Foundation, Project 305 asked residents of South Florida to capture and upload audio and video samples of their Miami. Working with Artistic Director Michael Tilson Thomas, composer Ted Hearne and filmmaker Jon David Kane brought this material together in a symphonic documentary called Miami in Movements.

37Originally designed for performance using the five-screen capabilities of the New World Center, it is being edited into a cinemascope version and a one-screen version. The new Miami in Movements will be shown in a variety of community venues with introduction and discussion led by NWS staff and Fellows. These events will be a catalyst for conversations about the future of Miami.

38At the world-premiere performance of Miami in Movements, 37 % of the audience were attending New World Symphony for the first time.

39Community Concerts—twenty-one in all—were staged by small ensembles of NWS Fellows over the course of the 2017/18 season. Farm workers, the transgender community, and visitors to the Everglades were three of the audiences that exemplify efforts by NWS to go beyond the traditional in pursuit of new listeners. The initiative was repeated in the 2018/19 season. Concerts in remote locations make it difficult to bring audiences to the New World Center. However, the connection between Fellows and audiences in last year’s experiment indicates that this strategy is worth further exploration.

Alternative Concert Formats and the Knight New Media Center

40Early audience experiments were driven by the Knight Foundation’s Magic of Music grant program. That work was a prelude to the digital expansion of engagement enabled by endowment and subsequent operating support that created the Knight New Media Center. Contextualization for Encounters and Fellow-driven projects uses the five projection sails of the New World Center’s performance hall as teaching tools to augment the spoken delivery of information. For Pulse, lighting and video combine with music for a hyper-sensate artistic experience. WALLCAST® concert technology and program design are democratizing classical music in Miami and beyond as the idea takes hold in other US cities. Project 305, Miami in Movements was a journey in which the sonic and visual essence of Miami met one another in an artistic form that integrated crowd-based musical ideas with performative video. The New World Symphony and Knight Foundation are strong partners in this work, believing that the reach of digital expression will increase the size of the audience for classical music as well as the intrinsic value of performances for individuals in these audiences. The New World Symphony is especially grateful to Alberto Ibargüen, President and CEO of Knight Foundation, for his encouragement and insight.

Partnerships—New World Experiments at Scale

41NWS new-audience experiments were formed within the environment created by the Magic of Music program. As the only educational institution in the research cohort, NWS was building an audience engagement system outside the parameters of the eleven professional orchestras in the program. During the Mellon-funded phase of the work, NWS realized the need to build models in conjunction with orchestras that would test them at a professional scale. Encounters, Pulse, Mini-Concerts, and later WALLCAST® concerts became the prototypes. The primary orchestras of Atlanta, Charlotte, Detroit, Indianapolis, and Kansas City were NWS partners. In each case, they applied NWS principles to their unique market. They identified a prospective audience, built an attractive experience, remained true to the classical music repertoire and excellence of performance, and listened carefully to their new audiences. Along the way, they discovered inventive ways to deploy their musicians, on the stage and in the community. Of greatest importance, they won new audiences and new donors using sustainable formats.3

Next Steps—Return Strategy for the Future

42Across the country, professional orchestras are pursuing new audiences, attracting them to concerts, then convincing them to return. There are two important distinctions between that work and the NWS New Audience Initiative. The first is the singular nature of each alternate format experience. First impressions are important. An individual uses the first experience as a reference when deciding whether to return to a second NWS performance. Knowing this to be true, NWS makes a significant investment in each alternate format program. The NWS companion strategy is to get beyond marketing ploys when inviting first-timers to return. An accurate and evocative description of the initial concert experience, delivered in a personal and direct way, can be successful. This is the context for the Return Strategy.

  • Returning audiences rarely stray from the format that initially brought them to NWS. “Killer offers”—free drinks and inexpensive tickets—are used to capture the attention of first-timers.

  • NWS Fellows are in touch with first-time ticket-buyers by email and phone. A personal invitation has high value.

  • Special events including social experiences can be a particularly promising tool in reengagement.

  • First-time subscribers receive special attention from the NWS family—Fellows, trustees, and staff. Informal receptions are scheduled for them throughout the year.

43NWS monitors the number of returning ticket-buyers. Currently, 30 % of first-time ticket-buyers have returned for a second NWS experience. The challenge will be to increase this percentage over time.

Conclusion—A Thoughtful Approach to Sharing with as Many People as Possible

44Historically, musicians and orchestra leaders, staff, and volunteers have assumed that classical music is relevant to society based on their lifelong commitment to the art form. Yet attendance is diminishing, and media coverage is being reduced. It is possible that there is a crisis of relevance.

45Based on the results of the New Audience Initiative, committed ensembles can take structured steps toward increasing their relevance and reversing downward attendance trends.4 If 75 % of ticket-buyers report studying an instrument or singing, one obvious strategy is to include as many children as possible in school music programs. For adults who have not studied music, orchestras must build bridges, creating experiences that are comfortable and inviting. These experiences can be developed within a methodical process that integrates audience study with the intuition of the orchestra leaders. It is essential to preserve the integrity of the music and the excellence of performance no matter what the design of the experiences. Each experience, defined as an alternate performance format, can attract a distinct new audience.

46NWS experiments indicate that audiences rarely migrate between formats, making loyalty to formats a strong indicator of audience development opportunities. Multiple formats will establish multiple audiences, increasing the size of the overall orchestral community. A larger audience can increase an orchestra’s revenue and establish greater relevance in the community.

Bibliographie

Bibliography

Knight Foundation. (a). “About”, Knight Foundation, https://knightfoundation.org/about/

Knight Foundation. (b). “Magic of Music Final Report: The Search for Shining Eyes”, Knight Foundation, https://knightfoundation.org/reports/magic-music-final-report-search-shining-eyes/

Knight Foundation. 2002. Classical Music Consumer Segmentation Study (Ann Arbor, MI: Inter-University Consortium for Political and Social Research), https://doi.org/10.3886/ICPSR35535.v1

Moritz, Michael. 2013. “The Miami Startup Striking the Right Note”, LinkedIn, 1 May, https://www.linkedin.com/pulse/20130501121220-25760-the-miami-startup-striking-the-right-note/

National Endowment for the Arts. 2017. “The 2017 Survey of Public Participation in the Arts (2017)”, National Endowment for the Arts, https://www.arts.gov/artistic-fields/research-analysis/arts-data-profiles/arts-data-profile-18

New World Symphony. (a). “About”, NWS, https://nws.edu/about/about-nws/

New World Symphony. (b). “Support NWS”, NWS, https://www.nws.edu/support-nws/friends-of-new-world-symphony/

US Census Bureau. 1980. 1980 Census of Population and Housing, https://www.census.gov/prod/www/decennial.html#y1980popv1us

Wolf, Thomas. 2006. The Search for Shining Eyes: Audiences, Leadership and Change in the Symphony Orchestra Field (Miami: John S. and James L. Knight Foundation), https://knightfoundation.org/wp-content/uploads/2019/06/2006_Magic_of_Music_Final_Report.pdf

WolfBrown. “Expertise”, WolfBrown, http://wolfbrown.com/expertise

Notes

1 The Knight Foundation is a national foundation which invests in journalism, the arts, and in the success of cities where brothers, John S. and James L. Knight once published newspapers. The goal of the Knight Foundation is to foster informed and engaged communities (Knight Foundation, a).

2 WolfBrown is a consultancy and works with funders, nonprofit institutions and public agencies on research, planning, resource development, and capacity building.

3 Additional information from these orchestras’ audience research can be found at https://www.nws.edu/PartnerResearch

4 NWS shares its New Audience Initiative findings broadly and without charge at https://www.nws.edu/research

Table des illustrations

Légende Fig. 1 New World Symphony’s performance and research cycle for audience acquisition and engagement. Graphic by Howard Herring and Craig Hall (2012),
Crédits © 2012, New World Symphony, Inc. All rights reserved.
URL http://books.openedition.org/obp/docannexe/image/21368/img-1.jpg
Fichier image/jpeg, 14k
URL http://books.openedition.org/obp/docannexe/image/21368/img-2.jpg
Fichier image/jpeg, 34k
Légende Fig. 3 NWS Fellow, Grace An, gives an introduction during a Mini-Concert (2012). New World Center, Miami Beach, FL. Photo courtesy of New World Symphony.
URL http://books.openedition.org/obp/docannexe/image/21368/img-3.jpg
Fichier image/jpeg, 22k
Légende Fig. 4 NWS Conducting Fellow, Joshua Gersen, leads Pulse—Late Night at the New World Symphony. The proximity of the audience to performers and the freedom to take photos (red circles) and enjoy drinks in the concert space (yellow circles) contribute to the interactivity of the event. Knight New Media Center environments invite social media sharing of Pulse using mobile phones and other digital devices. Photo by Rui Dias-Aidos (2013), New World Center, Miami Beach, FL.
URL http://books.openedition.org/obp/docannexe/image/21368/img-4.jpg
Fichier image/jpeg, 30k
Légende Fig. 5 The chart indicates the variety of activities in which audiences engage throughout Pulse—Late Night at the New World Symphony. The audience experience at Pulse is participatory—much more than traditional concerts—and is highly customizable to the preference of each audience member. Research and results compiled by WolfBrown in partnership with New World Symphony.
URL http://books.openedition.org/obp/docannexe/image/21368/img-5.jpg
Fichier image/jpeg, 22k
URL http://books.openedition.org/obp/docannexe/image/21368/img-6.jpg
Fichier image/jpeg, 30k
Légende Fig. 7 WALLCAST® concert outside the New World Center. WALLCAST® concerts are produced in the Knight New Media Center at the New World Center campus. Photo by Rui Dias-Aidos (2013), New World Center and SoundScape Park, Miami Beach, FL.
URL http://books.openedition.org/obp/docannexe/image/21368/img-7.jpg
Fichier image/jpeg, 38k
URL http://books.openedition.org/obp/docannexe/image/21368/img-8.jpg
Fichier image/jpeg, 31k
Légende Fig. 9 Percent of first-time attendees by concert format at New World Symphony. Graphic by Craig Hall (2015).
Crédits © 2015, New World Symphony, Inc. All rights reserved.
URL http://books.openedition.org/obp/docannexe/image/21368/img-9.jpg
Fichier image/jpeg, 12k
Légende Fig. 10 First-time attendees to alternate performance formats at NWS return at a higher rate than first-time attendees to traditional concerts at NWS. Graphic by Craig Hall (2018).
Crédits © 2018, New World Symphony, Inc. All rights reserved.
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Auteurs

Joined the New World Symphony (NWS) as President and Chief Executive Officer in 2001. His first charge was to guide the process of imagining and articulating a program for the long-term future of the institution. That program formed the basis for NWS’s new home, the New World Center (NWC). Designed by Frank Gehry, the NWC opened to national and international acclaim in 2011 and is a twenty-first-century laboratory for generating new ideas about the way music is taught, presented and experienced. A specific initiative of interest is WALLCAST® concerts – capture and delivery of orchestral concerts on the primary façade of the NWC offered at the highest levels of sight and sound and for free. Now with over 1,150 alumni, NWS continues to expand its relevance in South Florida and beyond, winning new audiences and enhancing music education.
Mr. Herring is a native of Oklahoma. A pianist by training, he holds a bachelor of music degree from Southern Methodist University and a master’s degree and honorary doctorate from Manhattan School of Music. He was the pianist of the Claremont Trio, a winner of the Artists International Competition, and an active musician and teacher in New York City. In 1986 he became Executive Director of the Caramoor Music Festival. During his fifteen-year tenure, he guided the creation of the Rising Stars Program for young instrumentalists and Bel Canto at Caramoor for young singers. During that period, Caramoor also celebrated its fiftieth Anniversary and established an endowment.

Worked at the New World Symphony (NWS) from 2007–2020, serving as Vice President for Communications and Vice President of Audience Engagement, Research and Design. During this time, NWS significantly developed its media and research programs, in addition to its audience, creative services and ticketing capacities. Throughout his career, Mr. Hall has sought to attract new audiences and increase engagement while developing an understanding and greater appreciation for classical music through a combination of program development, branding, creative and empathetic messaging, and patron services. Mr. Hall has also launched and developed extensive research programs to track NWS’s new audience initiatives, the results of which have been shared in reports, publications and at conferences internationally.
Craig has been a featured presenter at conferences including the League of American Orchestras, Orchestras Canada and the Asociación Española de Orquestas Sinfónicas, and a guest lecturer for classes at Indiana University’s School of Public and Environmental Affairs. In his own community, he has served as guest speaker at the Miami Press Club, grant panelist for Miami-Dade County and the City of Miami Beach, and as a Task Force Member of Miami-Dade County’s Miami Emerging Arts Leaders program.

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