Artistic Planning: Innovation Analysis Essay

Introduction

Historical changes in people’s interests and choices of entertainment often impact the ways in which certain spheres of art are viewed. The popularity of classical music and live orchestra performances is not an exception. Currently, the audience of orchestras is dwindling, and businesses engaged in classical music as well as musicians and people passionate about this art are trying to find new strategies to attract the public. That is the main aim of the article by Wierson and Draghiciu (2019), who share Aubrey Bergauer’s suggestions for orchestra innovation.

Music has been a part of people’s lives for as long as they existed. The first appearance of an orchestra in the form close to the modern one appeared at the beginning of the 17th century when people started to participate in festivals, concerts and public gatherings with musical acts (Nicholls, Hall and Forgasz, 2018). The following centuries saw a rise in the importance of classical instrumental music, and orchestras grew in size from a small group of musicians to dozens of members (Nicholls, Hall and Forgasz, 2018). From the second part of the 19th until the beginning of the 20th century, classical music gained a level of recognition as an educated musical act.

Now, many orchestras are struggling to maintain a flow of visitors, and many of them are in a difficult financial situation. Their success greatly depends on artistic planning – the strategy of engaging the audience and appealing to people’s interests. At present, most classical music businesses are found to be lacking in innovative ideas (Dearn and Pitts, 2017). As some of them choose to remain conservative in their approach to performances, they neglect modern artistic planning.

Innovations

Article Suggestions

The first idea offered in the article is to “mix up” the setlist of performances. Classical pieces can be interchanged with modern compositions, and even some covers of popular music can be added. This suggestion can speak to younger audiences, whose listening preferences often depend on the emotional response (Chang, 2017). Thus, orchestras can construct their programmes around specific moods and experiences or follow popular trends. According to Sloboda and Wise (2016), it is challenging for many listeners to keep the attention high, especially when the music does not evoke strong emotions. Moreover, such a strategy broadens the repertoire and introduces new music to the orchestra and the public. Thus, this advice can help orchestras to engage the audience and raise the change of returning visitors.

The next option, removing the anti-phone policy, is linked to the way people perceive and use technology. The traditional view of orchestral performances as demanding full attention and silence have developed at the beginning of the 19th century (Nicholls, Hall and Forgasz, 2018). Before that, musical acts were a background to a social event during which people could talk, drink, eat and enjoy each other’s company.

Similarly, the generational divide in the view of smartphones is also related to its role in people’s lives. For younger generations, these devices are the primary source of information, human connection and entertainment. As Ford and Mandviwalla (2020) find, the use of online-streaming and sharing breaks the barriers to attendance and increases interest in classical music. Thus, it would be logical to review this strict policy.

The third potential solution is to serve alcohol before or during the performance. Here, the issue of behaviour has to be considered, as alcohol can lead to changes in one’s attitude. Forsyth, Lennox and Cloonan (2016) analyse a similar problem for independent musician performances and find that the risk of aggressiveness and the lack of control over the audience results in negative experiences for the whole audience. Hence, it is vital to assess the benefits and drawbacks of this idea. Perhaps, the drinks could be served once at the beginning of the performance to limit people’s access to alcohol without removing the ability to enjoy cocktails. One could enhance the experience with themed menus that increase the feeling of a unique experience.

Large monitors that show the members of the orchestra is the next idea provided in the article. This is a solution that is related to the overall digitisation of the experience, and its addition has been a part of many changes done by major orchestras. It is also a way of creating a connection between the audience and the musicians. According to (Chang, 2017), such a personal link can significantly improve visitors’ attitude towards the experience. Apart from showing faces, the screens can also identify instruments that are playing at the moment and demonstrate how passionate the conductor is when leading. Similar to previous points, the emotional response is at the centre of increasing engagement in this case, which is vital for the current generation of young adults.

The fifth option suggests providing listeners with some context about the music and the orchestra. The education of the audience has been found to increase interest in all ages, including children and teenagers, as well as adults with or without children (Jiang, 2019). According to experimental programmes implemented by some orchestras, learning and even interactive lessons with the audience positively influence their view of classical music (Jiang, 2019). Personal stories from the listeners’ perspectives match this assumption – a short introduction of the piece or the explanation of its instruments and story formulate concepts and help the public to connect their experiences to the music (Best, 2016). As a result, each performance creates positive emotions and strong memories, increasing the chance for a returning visit.

The point about encouraging audience participation and applause is close to the previously discussed strategy of reviewing the phone policy. As mentioned above, the engagement with orchestras has been changing through history. Therefore, it is necessary to acknowledge the needs and opinions of the current generations in regards to classical music and concerts in general. According to Bergauer, the majority of attendees do not find orchestral performances approachable, and other studies tend to agree (Chang, 2017). As observed by Dearn and Pitts (2017), young visitors view classical music as difficult to enjoy due to the atmosphere.

Many younger people interested in classical music feel uncomfortable visiting places with strict laws that regulate their ability to express positive emotion (Golden, 2019). In contrast, clapping and other forms of engagement increase the desire to attend again (Burland and Pitts, 2016).

The idea that orchestras cannot engage in self-criticism is not unique to this type of business or art type. Classical music has had a place in the entertainment industry for centuries, and its previously held status elevated it above popular culture (Kaastra, 2016).

However, this way of thinking does not result in high attendance, especially as young audiences seek affordable and approachable activities. The need to engage in self-evaluation and change is shown in the examples of London Symphony Orchestra (LSO), New York Philharmonic, San Bernardino Symphony Orchestra and other orchestras that embraced innovation (Almusallam et al., 2018; Gosling et al., 2016; Jiang, 2019). Their attendance has increased after they reflected on the needs of the public. Therefore, this particular piece of advice should be the foundation for all other steps.

The eighth suggestion for orchestras is to develop mobile-friendly websites. As stated above, the use of smartphones is almost universal for younger generations, and their comfort and attitude towards certain activities is directly related to accessibility by phone. Gosling et al. (2016) and Almusallam et al. (2018) research how websites and applications influence attendance and find that both new and existing audiences view this change as a significant benefit.

Apps for tickets, special offers and concert schedules can increase participation and lower the barriers related to approachability. They also broaden opportunities for marketing since people will be able to look at available tickets and purchase them in less than a minute. This strategy is supported by research, thus making it an essential part of any orchestra’s planning.

Diversity has always been a major issue in the sphere of classical music. Prior to the 1990s, women could not find stable full-time employment in orchestras in many countries, and their presence on the stage is recent relative to the existence of orchestras as a whole (Nicholls, Hall and Forgasz, 2018). Ethnic diversity and the presence of disabled people in bands are another concern that orchestras continue to explore (Reed, 2019). Audience members are affected by such exclusiveness as well – in one story, a young black woman expresses uncertainty in visiting a concert due to the fear of feeling uncomfortable in such “highbrow cultural bubbles” (Best, 2016, para. 5). This cultural barrier keeps out a significant portion of the population and creates the notion that classical music is not for everybody.

The final piece of advice states that orchestras should not rely on the opinions of a small group, collecting data from a large sample instead. This suggestion is regarded by many researchers who try to engage new audiences in exciting ways rather than trying to appease existing patrons. In particular, Jiang (2019) demonstrates that several orchestras have succeeded in approaching a wider audience after taking risks with community engagement. It is essential to consider that a failure to attract a younger audience creates a problem that will only worsen with time, as new generations’ appreciation of classical music will deteriorate.

Alternative Options

Several major orchestras are currently trying to innovate to reach younger audiences and increase their interest in classical music. The first innovation is audience participation before the concert that can be planned in advance. This initiative offers young children a chance to meet the members of the orchestra and learn about the instruments they play. Jiang (2019) shows how this program has been implemented – children enjoy playing instruments and talking to musicians. The second innovation is more suitable for teenagers and young adults – live online performances or screenings of orchestra concerts. This option is analysed by (Dearn and Pitts, 2017), who suggest that younger audiences are more open to new types of entertainment if they can easily access them.

The first idea is rooted in education and personal connection, which are described above. Thus, the research proves that children who have positive experiences and an understanding of classical music performances are likely to continue enjoying this medium in their adulthood (Chang, 2017; Sloboda and Wise, 2016). Parents can also find a new interest in classical music when participating in these meetings with their children. The second innovation has been shown to remove barriers linked to orchestra concerts’ appearance. While it does not mean that the physical attendance will improve, it opens up new possibilities that orchestras can explore in the future. Overall, the two options are focused on new generations without neglecting some traditional aspects of orchestra performances.

Conclusion

To sum up, this essay discussed the article by Wierson and Draghiciu published in Observer and analysed the innovations proposed by Bergauer to increase the popularity of orchestra concerts. Bergauer listed ten ideas, out of which many can be implemented to reach put to new audiences. I believe that at least eight out of the ten options can support symphonic orchestras. The only suggestions that are less likely to help are alcohol and a looser anti-phone policy, although the latter is a complex subject that has to be revisited.

In contrast, such ideas as mixed setlists, audience participation and education, large monitors, mobile-friendly websites and apps, diversity, self-criticism and attention to the public opinion should be viewed as necessary to keep the sphere of classical music performance alive.

The two other innovations offered in this essay are educational programmes for children and online performances for younger audiences. The first idea combines participation and learning, raising a new generation of people loving classical music. The next one is based on the idea that technology eliminates the perception that classical music is unapproachable. Both initiatives target age groups that are currently lacking among the concerts’ attendees. Moreover, these ideas recognise that change is inevitable and that it is vital or orchestras to adapt to keep the interest in classical music high. All discussed options should be viewed as opportunities for growth and evolution.

Reference List

Almusallam, A. et al. (2018) ‘San Bernardino Symphony Orchestra and exploring the use of mobile applications by symphony orchestras’, International Journal of Computer Science and Information Security (IJCSIS), 16(4), pp. 226-250.

Best, T. (2016) ‘I went to my first classical music concert. It was in my living room.’ The New York Times. Web.

Burland, K. and Pitts, S. (eds.) (2016) Coughing and clapping: investigating audience experience. New York, NY: Routledge.

Chang, N. W. T. (2017) The” missing audience”: a query into the future of the orchestra and the potential benefits of bringing live classical music to the community through informal performances. DMA Dissertation. Louisiana State University.

Dearn, L.K. and Pitts, S.E. (2017) ‘(Un) popular music and young audiences: exploring the classical chamber music concert from the perspective of young adult listeners’, Journal of Popular Music Education, 1(1), pp. 43-62.

Ford, V. and Mandviwalla, M. (2020) ‘Can digital engagement transform the performing arts?’ Proceedings of the 53rd Hawaii International Conference on System Sciences. University of Hawai’i, Honolulu, HI, 7-10 January. Honolulu: HICSS, pp. 4296-4305.

Forsyth, A., Lennox, J.C. and Cloonan, M. (2016) ‘“I’m there to play music not break up fights”: gigging entertainers’ experiences of alcohol-related’ misbehaviour by audiences and its impact on performance’, Popular Music, 35(2), pp. 245-264.

Golden, A. (2019). ‘Music business is being re-defined by Generation Z’, All About Jazz. Web.

Gosling, V. et al. (2016) ‘Branded app implementation at the London Symphony Orchestra’, Arts and the Market, 6(1), pp. 2-16.

Jiang, R. (2019) ‘Audience development in symphony orchestra—a case study of the iOrchestra Project’, 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Russian State Specialized Academy of Arts, Moscow, Russia. Paris: Atlantis Press, pp. 423-427.

Kaastra, L.T. (2016). ‘Tacit knowledge in orchestral performance: an application of HH Clark’s (1997) “Dogmas of Understanding” to the analysis of performed music’, College Music Symposium, 56. Web.

Nicholls, C.D., Hall, C. and Forgasz, R. (2018) ‘Charting the past to understand the cultural inheritance of concert hall listening and audience development practices’, Paedagogica Historica, 54(4), pp. 502-516.

Reed, E.A. (2019) ‘Culturally responsive teaching within rural, suburban, and urban orchestra programs’, American String Teacher, 69(1), pp. 35-40.

Sloboda, J. and Wise, K. (2016) ‘Going to a classical concert: the relationship between audience perceptions of artistic identity and motivation for future attendance’, Creativeworks London. Web.

Wierson, A. and Draghiciu, B. (2019) ‘Call off the requiem: the classical music business is not dead just yet’, Observer. Web.