collaboration in reaching new audiences

Collaboration in reaching new audiences

About this session

Developing audiences for contemporary classical music

Setting up effective European collaborationsWhat you will get from the project

The challenge

Other artforms

WHO IS IT FOR

VISION

Narrow

Wide

Artist-ledTemple

Audience-led

Marketplace

WHO IS IT FOR

VISION

Narrow

Wide

Artist-ledTemple

Audience-led

Marketplace

INTROVERTEDArtist-led, peer focused

WHO IS IT FOR

VISION

Narrow

Wide

Artist-ledTemple

Audience-led

Marketplace

INTROVERTEDArtist-led, peer focused

POSITIVE ACTIONAudience-led, socially focused

WHO IS IT FOR

VISION

Narrow

Wide

Artist-ledTemple

Audience-led

Marketplace

INTROVERTEDArtist-led, peer focused

POSITIVE ACTION

Audience-led, socially focused

MAINSTREAM

Audience-led, audience focused

WHO IS IT FOR

VISION

Narrow

Wide

Artist-ledTemple

Audience-led

Marketplace

INTROVERTEDArtist-led, peer focused

POSITIVE ACTION

Audience-led, socially focused

MAINSTREAM

Audience-led, audience focused

ACCESSIBLEArtist-led, audience focused

Narrow Wide

Artis

ticAu

dien

ce

VISI

ON

WHO IT’S FOR

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1023

13 19

27

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18

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21

224

1

12

26

16

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828

209

Renewing the concert form

Concert form

Audience engagement

Marketing/PR/ Communications

Artisticvision IdentityProgramme

Building a network

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 )

The ensembles

Effective collaboration

Concert form

Audience engagement

Marketing/PR/ Communications

Artisticvision IdentityProgramme

Audiences for the projectPeople who are interested in contemporary classical music: either going to

concerts or buying cdsHeavy consumers of other forms of music with eclectic tastes who have

not yet developed an interest in contemporary musicPeople who are interested in other artforms but not contemporary musicCurrent audience of participating ensemblesMusicians, composers and ensemble leadersMusic teachersArts venue and festival programmers (organisers)People with a professional interest in audience development from across

the performing artsAcademics with research interests including classical music, arts

management, audience development

Success criteria

Get bigger audiencesExchange and collect knowledgeDo better marketing

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

Quick fixes

100 words on your home pageUse the words they search forSort out your title tags

Quick fixes

100 words on your home pageUse the words they search forSort out your title tags– 65 characters– What you do then who you are– Most important words first– Use the words they search for

Evaluation

What is audience development?

More peopleDifferent kinds of peoplePeople enjoy it morePeople feel they understand it morePeople listen to the ensemble more

Did it work?

Principles

This is what we didThis workedThis is why it worksThis did not workThis is what went wrongSimple research methodsInformation to help ensembles, not academics

Simple research methods

What four or five words would you use to describe this concert?

Results are easy to understand

What difference did we make?

Research before and after–Use past research–Collect new evidence about audiences

before we start–Benchmarking?: what do the

ensembles want to know?

How?

With our help, the ensembles in each group agree what they want to know

We create a research toolkit

Each ensemble has a partner to help them adapt and use the toolkit

Research steering group?MA or MBA students? Interns?

Who gains from this project?

Can you help?td@komponistforeningen.dk