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Deep Blue Orchestral Project V10.0

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Deep Blue Orchestral Project V10.0 Audience connectivity in orchestral performances SHARI LINDBLOM FACULTY OF CREATIVE INDUSTRIES, QUEENSLAND UNIVERSITY OF TECHNOLOGY MASTER OF ARTS (RESEARCH), 2009 Key Words Orchestra, Audience, Connectivity, Sustainability, Performance, Music Shari Lindblom Masters of Arts (Research), 2008 Audience connectivity in orchestral performances Page ii ABSTRACT With the general global decline in the popularity and profitability of traditional orchestras, ways to build new audiences, develop new repertoires and create new networks and business partnerships are being explored. The aim of this thesis is to analyse the various elements of a proposed Orchestral Sustainability Framework and determine if and how these elements contribute to an increased audience connection with the music performance experience. Three main elements are explored in this Orchestral Sustainability Framework: 1. Social aspects of audience connection such as performer/audience interaction and ways of emotional engagement 2. Artistic aspects of audience connection such as the impact of poly-stylistic genres, blend of instruments and sounds and the importance of inter-sensory perception using visuals, theatre and music 3. Economic aspects of audience connection such as networking with business partnerships, impact of branding and marketing and the importance of distribution channels Audience reactions are central to this approach. Audiences from a variety of existing orchestral models have been researched through case studies, interviews, surveys, focus groups and participant observation. An orchestra, formed specifically for this project, performed to selected audiences and at the Brisbane Festival of Arts in 2006 and is now achieving commercialisation. The style of this orchestra is characterised by audience and performer interactivity, theatrical staging, visuals, spontaneity and less formality. Research has been conducted on this orchestral model, with contributions from the musicians, directors, producers, promoters and audiences. The research hypothesis proposes that a greater connectivity with the audience results in a more sustainable product, where sustainability is indicated by the orchestras’ ability to generate a sufficient amount of box office revenue and Shari Lindblom Master of Arts (Research), 2009 Audience connectivity in orchestral performances Page iii sponsorship. A variety of different models are considered which demonstrate orchestras that can achieve their mission of satisfying their audience, while being financial viable. The findings from the literature and the case studies clearly demonstrate the importance of many elements in the sustainability framework to achieve a greater level of audience connection with the orchestra. Shari Lindblom Master of Arts (Research), 2009 Audience connectivity in orchestral performances Page iv CONTENTS ABSTRACT ................................................................................................ii FIGURE INDEX................................................................................................i TABLE INDEX i 1 INTRODUCTION....................................................................................1 1.1 Statement of the problem...........................................................................1 1.2 Rationale for the research..........................................................................2 1.3 Overview of Research Approach................................................................4 1.4 High-level research methodology description............................................8 1.5 Research Hypothesis...................................................................................9 1.6 Overview of each chapter.........................................................................11 2 LITERATURE REVIEW.......................................................................12 2.1 Arts Marketing Historical Context. ...................................................... 12 2.2 The Classical Music Context....................................................................14 2.3 The Orchestral Context...........................................................................15 2.4 Social/Personal Aspects of Audience Development..................................19 2.4.1 Interactivity......................................................................................................19 2.4.2 Style of performance.........................................................................................21 2.4.3 Emotional/psychological connection.................................................................24 2.4.4 Musical learning...............................................................................................27 2.5 Artistic Aspects of Orchestral Product....................................................29 2.5.1 Poly-stylistic music genres /Blends of instruments and sounds...........................29 2.5.2 Inter-sensory perception....................................................................................31 2.6 Economic Aspects and Distribution Strategies........................................34 2.6.1 Networking/Business Partnerships....................................................................34 2.6.2 Strong branding and marketing..........................................................................36 2.6.3 Entrepreneurial Management............................................................................38 2.6.4 Distribution Channels.......................................................................................39 2.7 Conclusions from Literature ...................................................................41 3 METHODOLOGY..................................................................................43 3.1 The Research Project................................................................................43 3.2 The Interpretative Paradigm...................................................................43 3.3 The Research Strategy..............................................................................47 4 DATA PRESENTATION AND ANALYSIS...........................................54 4.1 Introduction to the Case Studies..............................................................54 4.2 Data Presentation – The Deep Blue Orchestra........................................59 4.2.1 Audience Survey Results - December 2005.......................................................59 4.2.2 Audience Focus Group Responses – December 2005.........................................61 4.2.3 Musicians Focus Group Responses – December 2005........................................65 4.2.4 Audience Survey Results – July 2006................................................................69 4.2.5 SMS Data – July 2006......................................................................................76 Shari Lindblom Master of Arts (Research), 2009 Audience connectivity in orchestral performances Page v 4.2.6 Interviews.........................................................................................................77 4.2.7 Reflections on Financial Data - 2006.................................................................82 4.3 Data Presentation - The Queensland Orchestra......................................84 4.3.1 Audience Survey Results - October 2006...........................................................84 4.3.2 Audience Focus Group – October 2006.............................................................88 4.3.3 Audience Survey Results – August 2006...........................................................90 4.3.4 Audience Focus Group – August 2006..............................................................94 4.3.5 Audience Focus Group – July 2006...................................................................97 4.3.6 TQO Musicians Focus Group..........................................................................100 4.3.7 Interview with CEO, The Queensland Orchestra – April 2006.........................102 4.3.8 Financial Reflections on Selected Concerts......................................................104 5 CONCLUSION.....................................................................................105 5.1 Key findings from the research data......................................................105 5.1.1 Interactivity....................................................................................................105 5.1.2 Style of performance.......................................................................................107 5.1.3 Emotional connection.....................................................................................108 5.1.4 Poly-stylistic genres........................................................................................109 5.1.5 Distribution....................................................................................................109 5.1.6 Inter-sensory perception..................................................................................110 5.1.7 Marketing and Promotion................................................................................111 5.1.8 Business Partnerships......................................................................................112 5.2 Conclusions.............................................................................................113 BIBLIOGRAPHY..........................................................................................121 APPENDIX ONE..........................................................................................127
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