DOCSLIB.ORG

Classical Music Consumer Segmentation Study How Americans Relate to Classical Music and Their Local Orchestras Commissioned by 15 American Orchestras and the John S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Classical Music Consumer Segmentation Study How Americans Relate to Classical Music and Their Local Orchestras Commissioned by 15 American Orchestras and the John S Classical Music Consumer Segmentation Study How Americans Relate to Classical Music and Their Local Orchestras Commissioned by 15 American Orchestras and the John S. and James L. Knight Foundation INSIDE THE CULTURAL Consumer’s Mind Classical Music Consumer Segmentation Study Final Report FINAL REPORT Classical Music Consumer Segmentation Study How Americans Relate to Classical Music and Their Local Orchestras October 2002 Commissioned by the John S. and James L. Knight Foundation and 15 American Orchestras: Brooklyn Philharmonic Orchestra Charlotte Symphony Orchestra Colorado Symphony Association Detroit Symphony Orchestra Hall Fort Wayne Philharmonic Orchestra Kansas City Symphony Long Beach Symphony Association Louisiana Philharmonic Orchestra New World Symphony Oregon Symphony Association The Philadelphia Orchestra Association Saint Louis Symphony Orchestra Saint Paul Chamber Orchestra Symphony Society of San Antonio Wichita Symphony Society © 2002 Audience Insight LLC Page 1 Classical Music Consumer Segmentation Study Final Report ABOUT The Study Abstract Orchestras are adrift in a sea of classical music consumers who rarely, if ever, attend live orchestra concerts. With more than 25,000 interviews with potential classical consumers and orchestra ticket buyers in 15 cities, the Classical Music Consumer Segmentation Study offers a sweeping view of an art form in transition and an orchestra field increasingly detached from its potential customers. The study paints a detailed picture of how consumers fit classical music into their lives — listening to classical radio and recordings in their automobiles and homes, and attending live concerts in churches, schools and traditional concert venues. Roughly 10 percent to 15 percent of Americans have what might be termed a close or moderately close relationship with classical music, and again as many have weaker ties. Across the 15 study cities, approximately one if four adults are prospects (i.e., potential orchestra ticket buyers). But only half of those who express the very highest levels of preference for attending classical music concerts actually attend, even infrequently. On a tactical level, the study produced a long list of ideas for new and refined marketing strategies. Subscription marketing, the study suggests, is an increasingly dysfunctional marketing paradigm that is often at odds with the goal of attracting younger audiences. From a strategic standpoint, increasing attendance — or at least staving off a decline in attendance — may require a loosening of the definitional boundaries around “classical music” and structural changes to the concert experience that recognize the underlying values and benefits that consumers seek from listening to classical music and attending live concerts. Study Team Audience Insight LLC P.O. Box 423, Southport, Conn. 06890 Telephone 203-256-1616 Email: [email protected] Alan S. Brown, Project Director Steven A. Wolff, Principal Andrew J. Fish, PhD, Research Director Mary Beth Fenlaw, Project Manager Chris Lorway, Analyst Erik Swenson, Analyst Audience Insight is the research affiliate of AMS Planning & Research Corp. Page 2 Classical Music Consumer Segmentation Study Final Report ACKNOWLEDGEMENTS The consultants are grateful to entire study team for their support and encouragement throughout the study. Knight Foundation Staff • Penelope McPhee, Vice President and Chief Program Officer • Larry Meyer, Vice President of Communications • Lisa Versaci, Director of National Venture Fund • John Bare, Director of Program Development and Evaluation • Gary Burger, former Arts & Culture Program Director Expert Panelists Two marketing experts assisted the study team in formulating the research plan: • Joanne Scheff, Adjunct Associate Professor of Arts Management, J.L. Kellogg Graduate School of Management, Northwestern University, and Principal, Joanne Scheff Arts Management • John H. Mather, Professor of Marketing, Graduate School of Industrial Administration, Carnegie Mellon University Study Advisory Group The Study Advisory Committee provided guidance and feedback to the study team with the overall goal of keeping the study relevant to the day-to-day issues and challenges facing orchestras. The group included administrators, board members and a musician. • Ed Cambron, Dir. of Marketing and Patron Services, Philadelphia Orchestra • Julia Kirchhausen, Former Dir. of Marketing, St. Paul Chamber Orchestra • Don Roth, Past President and Executive Director, St. Louis Symphony Orchestra • Christopher Stager, Former Dir. of Marketing, Brooklyn Philharmonic Orchestra • David Tang, Associate Conductor, Charlotte Symphony Orchestra Our heartfelt thanks go to each of the current and former staff members of the 15 orchestras whose assistance and cooperation made the study possible. We are especially indebted to the Charlotte Symphony Orchestra for serving as the test site for the various methodologies. Page 3 Classical Music Consumer Segmentation Study Final Report TABLE OF Contents Introduction . 5 Key Themes And Observations . 7 Research Goals & Methodologies . 21 Research Goals & Objectives . 21 The Central Hypothesis. 21 Methodologies & Data Resources. 24 Towards A New Model Of Classical Consumers . 29 Classical Music Prospects And Market Potential . 30 Segmentation Strategy. 33 Defining A Pool Of Potential Classical Consumers . 35 Demographics Of Classical Music Consumer Groups. 37 Unactualized Affinity — The Other Half Of The Glass . 39 How Consumers Relate To Classical Music . 41 Types Of Classical Concerts Attended . 41 Venues Used For Live Concerts . 44 Consumption Of Classical Music Via Electronic Media . 45 Attitudes About Classical Music . 52 Segmentation Model: Art Form Relationship . 60 How Consumers Relate To Their Local Orchestra . 73 Social Context . 83 Initiators And Responders. 86 Other Results — Local Orchestra Relationship . 92 Segmentation Model: Local Orchestra Relationship. 95 The Prospect Universe For 15 Orchestras . 99 The Prospect Matrix . 100 Segment Descriptions . 105 Consumer Behaviors And Arts Attendance. 115 Values And Benefits Of Classical Music . 123 Report Appendix . A-1 Research Goals And Objectives . A-2 Methodology . A-6 Protocols . A-15 Focus Group Summary Reports . A-44 Data Tables . A-85 Page 4 Classical Music Consumer Segmentation Study Final Report INTRODUCTION Magic of Music has been one of the major funding initiatives of the Knight Foundation since 1994. In its first phase, nearly $6 million in grants was awarded to a select group of 12 orchestras with the overall goal of strengthening the bond between musicians and audiences in the concert hall. A number of innovative programs were designed and tested, ranging from informal performances at unusual locations to abbreviated programs and “informances” as entry points for new and younger audiences. Knight Foundation’s trustees funded a second phase for Magic of Music in December 1999, involving 15 orchestras. In addition to further work in the areas of program innovation and audience development, the second phase included a significant investment in market research. Each orchestra was required to participate in the research project in order to be eligible for a program grant. All 15 orchestras applied to participate in the research initiative, and all were granted a share of the funds necessary to participate. Each orchestra contracted separately with Audience Insight LLC to conduct a standardized program of market-specific research. To begin the research initiative and to set the stage for the local studies, Knight Foundation contracted with Audience Insight to conduct a national study of classical music consumers, which included both qualitative and quantitative components. The study is unique in scope, focus and design. More than 11,300 random sample telephone interviews were fielded in 15 markets corresponding to the areas served by the 15 orchestras (approximately 750 interviews in each market). The local surveys were preceded by a national telephone survey of 2,200 adults. In addition, 1,500 orchestra ticket buyers were surveyed by mail in each market (750 subscribers and 750 single-ticket buyers, each), yielding just over 10,000 responses. At the end of the two-year study the 15 orchestras were able to compare national results with market-area results and results for their own ticket buyers — along a wide range of variables relating to classical music participation. Thanks to a combination of resources from Knight Foundation, the orchestras and a broad array of professional expertise in marketing, market research and consumer behavior, this initiative represents the most comprehensive discipline-specific audience study ever undertaken in the United States. Page 5 Classical Music Consumer Segmentation Study Final Report KEY THEMES And Observations “Sometimes I think that people who know too much don’t enjoy things because they’re looking for the mistakes and they’re honing in on that so hard that they don’t relax and enjoy what’s going on.” — Focus Group Participant, November 2000 Orchestras are adrift in a sea of classical music consumers who rarely, if ever, attend live orchestra concerts. Roughly 10 percent to 15 percent of Americans have what might be termed a close or moderately close relationship with classical music, and again as many have weaker ties. Yet only half of those who express the very highest levels of preference for attending classical music concerts actually attend, even infrequently. Results from the Classical Music Consumer Segmentation
Load more

Recommended publications
  • In Texas 1 º the First Group of German Settlers to German Settlers of Group First the 1
    Heide: Celebrating "Das Deutsche Lied" in Texas Celebrating Texas in “Das Deutsche Lied” Celebrating “Das Deutsche Lied” in º Druck der “Freie Presse fuer Texas” Ad from the 49th Annual Singing Festival of the Texas Hill Country Singers’ League commemorating the Texas Centennial 1836-1936. Courtesy of Beethoven Maennerchor Archives Towards the end of the Republic of Texas and in the early days of statehood, German settlers began arriving at the Ports of Galveston and Indianola. They were coming to Texas largely because of promises made to them for a better political and economic life by the Society for the Protection of German Immigrants in Texas, the Adelsverein. The Adelsverein was an organization formed in 1842 by German noblemen who wanted to create prosperous new settlements in what is now central Texas.1 The first group of German settlers to arrive under the auspices of the Adelsverein was led by Prince Carl of Solms- Braunfels. On March 21, 1845, the Adelsverein established its first community in central Texas and named it “New Braunfels” in honor of the Prince’s estate Produced by The Berkeley Electronic Press, 2003 1 Journal of Texas Music History, Vol. 3 [2003], Iss. 2, Art. 4 Celebrating “Das Deutsche Lied” in Texas in “Das Deutsche Lied” Celebrating Painting of Germania Gesangverein Neu Braunfels,Texas, courtesy of RABA Studio and Beethoven Maennerchor Archives The first year in the new homeland was tenuous. Original plans with a reliable food supply and new homes, the settlers had time made by the Adelsverein for the settlers provisions and welfare to channel their energies into developing these esteemed pastimes.
    [Show full text]
  • Resolution Number 171--2018 Resolution of the Council of the City of Lambertville Adopting an "Affirmative Marketing Plan" for the City of Lambertville
    QCttpof ][ambertbHle RESOLUTION NUMBER 171--2018 RESOLUTION OF THE COUNCIL OF THE CITY OF LAMBERTVILLE ADOPTING AN "AFFIRMATIVE MARKETING PLAN" FOR THE CITY OF LAMBERTVILLE WHEREAS, in accordance with applicable Council on Affordable Housing ("COAH") regulations, the New Jersey Uniform Housing Affordability Controls ("UHAC")(N.J.A.C. 5:80- 26., et seq.), and the terms of a Settlement Agreement between the City of Lambertville and Fair Share Housing Center ("FSHC"), which was entered into as part of the City's Declaratory Judgment action entitled In the Matter of the Application f U1 City of Lambertville. C unty of Hunterdon, Docket No. HUN-L-000311-15, which was filed in response to Supreme Court decision In re N.J.A. 5: 6 and 5:97, 221 N.J. 1, 30 (2015) ("Mount Laurel N"), the City of Lambertville is required to adopt an Affirmative Marketing Plan to ensure that all affordable housing units created, including those created by the rehabilitation of rental housing units within the City of Lambertville, are affim1atively marketed to low and moderate income households, particularly those living and/or working within Housing Region 3, the COAH Housing Region encompassing the City of Lambertville. NOW, THEREFORE, BE IT RESOLVED, that the Mayor and Council of the City of Lambertville, County of Hunterdon, State of New Jersey, do hereby adopt the following Affirmative Marketing Plan: Affirmative Mark ting Plan A. All affordable housing units in the City of Lambertville shall be marketed in accordance with the provisions herein. B. The City of Lambertville does not have a Prior Round obligation and a Third Round obligation covering the years from 1999-2025.
    [Show full text]
  • PROGRAM NOTES Witold Lutosławski Concerto for Orchestra
    PROGRAM NOTES by Phillip Huscher Witold Lutosławski Born January 25, 1913, Warsaw, Poland. Died February 7, 1994, Warsaw, Poland. Concerto for Orchestra Lutosławski began this work in 1950 and completed it in 1954. The first performance was given on November 26, 1954, in Warsaw. The score calls for three flutes and two piccolos, three oboes and english horn, three clarinets and bass clarinet, three bassoons and contrabassoon, four horns, four trumpets, four trombones and tuba, timpani, snare drum, side drums, tenor drum, bass drum, cymbals, tam-tam, tambourine, xylophone, bells, celesta, two harps, piano, and strings. Performance time is approximately twenty-eight minutes. The Chicago Symphony Orchestra's first subscription concert performances of Lutosławski's Concerto for Orchestra were given at Orchestra Hall on February 6, 7, and 8, 1964, with Paul Kletzki conducting. Our most recent subscription concert performance was given November 7, 8, and 9, 2002, with Christoph von Dohnányi conducting. The Orchestra has performed this concerto at the Ravinia Festival only once, on June 28, 1970, with Seiji Ozawa conducting. For the record The Orchestra recorded Lutosławski's Concerto for Orchestra in 1970 under Seiji Ozawa for Angel, and in 1992 under Daniel Barenboim for Erato. To most musicians today, as to Witold Lutosławski in 1954, the title “concerto for orchestra” suggests Béla Bartók's landmark 1943 score of that name. Bartók's is the most celebrated, but it's neither the first nor the last work with this title. Paul Hindemith, Walter Piston, and Zoltán Kodály all wrote concertos for orchestra before Bartók, and Witold Lutosławski, Michael Tippett, Elliott Carter, and Shulamit Ran are among those who have done so after his famous example.
    [Show full text]
  • Arkansas Symphony Rockefeller and Quapaw String Quartets Present "The Art of the String Quartet" at Clinton Presidential Center
    PRESS RELEASE: FOR IMMEDIATE RELEASE Press Contact: Brandon Dorris Office: (501)666-1761, ext. 118 Mobile: (501)650-2260 Fax: (501)666-3193 Email: [email protected] Arkansas Symphony Rockefeller and Quapaw String Quartets Present "The Art of the String Quartet" at Clinton Presidential Center Little Rock, ARK, Feb. 7, 2019 - The Arkansas Symphony Orchestra, Philip Mann, Music Director and Conductor, presents the fourth concert of the 2018-2019 River Rhapsodies Chamber Music season with The Art of the String Quartet, Tuesday, Feb. 26th at 7:00 p.m. at the Clinton Presidential Center. ASO's resident string quartets, Rockefeller String Quartet and Quapaw String Quartet, will perform Janáček's "Kreutzer Sonata," Mozart's String Quartet No. 12, along with Puccini and Verdi's string quartets. Arkansas Symphony Orchestra's Quapaw String Quartet was founded in 1980 as the ASO resident string quartet. Responding to what was clearly a statewide need, the ASO and Winthrop Rockefeller Foundation began a partnership in 2000 to form the Rockefeller String Quartet. The quartets have developed a reputation for providing quality school programming, as well as performing statewide as a chamber ensemble and with the Arkansas Symphony. The quartets’ primary responsibilities include string education and outreach throughout the state reaching more than 26,000 Arkansas school children each year. River Rhapsodies Chamber Music Concerts are held in the intimate setting of the Clinton Presidential Center's Great Hall. A cash bar is open before the concert and at intermission, and patrons are invited to carry drinks into the concert. The Media Sponsor for the River Rhapsodies Chamber Music Series is UA Little Rock Public Radio.
    [Show full text]
  • Concerts in the Park Concerts in the Park String Quartet String Quartet
    HARTMAN FOUNDATION HARTMAN FOUNDATION CONCERTS IN THE PARK CONCERTS IN THE PARK STRING QUARTET STRING QUARTET Sunday, July 18, 2021, 7:30 p.m. Sunday, July 18, 2021, 7:30 p.m. H-E-B Terrace at the Long Center for the Performing Arts H-E-B Terrace at the Long Center for the Performing Arts Karen Stiles, violin Karen Stiles, violin Richard Kilmer, violin Richard Kilmer, violin Blake Turner, viola Blake Turner, viola Muriel Sanders, cello Muriel Sanders, cello PROGRAM PROGRAM FRANZ JOSEPH HAYDN String Quartet No. 5 in D Major, Op. 64, The Lark FRANZ JOSEPH HAYDN String Quartet No. 5 in D Major, Op. 64, The Lark I. Allegro moderato I. Allegro moderato II. Adagio cantabile II. Adagio cantabile III. Menuetto (Allegretto) III. Menuetto (Allegretto) IV. Finale (Vivace) IV. Finale (Vivace) LUDWIG VAN BEETHOVEN Allegro ma non tanto from String Quartet No. 4 LUDWIG VAN BEETHOVEN Allegro ma non tanto from String Quartet No. 4 in C Minor, Op. 18 in C Minor, Op. 18 FRANZ JOSEPH HAYDN Presto (Scherzando) from String Quartet No. 4 FRANZ JOSEPH HAYDN Presto (Scherzando) from String Quartet No. 4 in D Major, Op. 20 in D Major, Op. 20 VARIOUS A selection of pop music VARIOUS A selection of pop music Visit austinsymphony.org/events for upcoming events. Visit austinsymphony.org/events for upcoming events. ———————————————— ———————————————— The Austin Symphony Orchestra wishes to thank The Hartman Family Foundation The Austin Symphony Orchestra wishes to thank The Hartman Family Foundation for making the Concerts in the Park possible. for making the Concerts in the Park possible.
    [Show full text]
  • INAUGURAL GALA and CONCERT Honorary Chairs: Joan and Irwin Jacobs Co-Chairs: Una Davis and Jack Mcgrory, Karen and Kit Sickels, Kathy Taylor and Terry Atkinson
    LETIT’S THETIME MUSIC TO CELEBRATE BEGIN PLEASE JOIN US ON FRIDAY, AUGUST 6TH AT 5PM THE RADY SHELL AT JACOBS PARK™ INAUGURAL GALA AND CONCERT Honorary Chairs: Joan and Irwin Jacobs Co-Chairs: Una Davis and Jack McGrory, Karen and Kit Sickels, Kathy Taylor and Terry Atkinson PURCHASE TICKETS THE EVENING Please join us at the San Diego Symphony Inaugural Gala and Concert, a once-in-a-lifetime celebration, at The Rady Shell at Jacobs Park™. Be among the very first guests to come together at this iconic new bayside performance venue and San Diego landmark. Be front and center as Rafael Payare and the musicians of the San Diego Symphony, as well as special world-renowned guest artists, all take the stage for a breathtaking concert experience. Support the Symphony's artistic, learning and community engagement programs by attending this spectacular evening, which kicks off an electrifying new era for the San Diego Symphony – and all of us. SCHEDULE COCKTAIL RECEPTION 5:00 pm – 6:00 pm Guests begin the evening at a beautiful cocktail reception bayside. DINNER 6:00 pm – 7:30 pm Celebrity Chef Richard Blais will curate a delectable dinner exclusively crafted for Gala attendees. CONCERT 7:30 pm – 10:00 pm The evening will culminate with a breathtaking concert, followed by a spectacular display of light and sound. TICKET LEVELS & BENEFITS DIAMOND LEVEL PLATINUM LEVEL GOLD LEVEL SILVER LEVEL TABLE OF 4 | $40,000 TABLE OF 4 | $25,000 TABLE OF 4 | $20,000 TABLE OF 4 | $10,000 INDIVIDUAL TICKETS | INDIVIDUAL TICKETS | INDIVIDUAL TICKETS | INDIVIDUAL
    [Show full text]
  • EAST AMWELL TOWNSHIP FEBRUARY 11, 2021 the Regular
    EAST AMWELL TOWNSHIP FEBRUARY 11, 2021 The regular meeting of the East Amwell Township Committee was called to order at 7:30 p.m. Present were Mayor Richard Wolfe, Deputy Mayor Mark Castellano, and Committee members Chris Sobieski, Tara Ramsey and John Mills. In compliance with the Open Public Meetings Act, Acting Clerk Krista Parsons announced that this is a regularly scheduled meeting, pursuant to the resolution adopted on January 4, 2021 with a meeting notice published in the Hunterdon County Democrat issue of January 14, 2021. A copy of the agenda for this meeting was forwarded to the Hunterdon County Democrat, Times of Trenton, Star Ledger, Courier News, posted on the Township website, and filed in the Township Clerk’s Office on February 8, 2021. ****************************************************************************** RESOLUTION #34-21 WHEREAS, the Open Public Meetings Act, P.L. 1975, Chapter 231 permits the exclusion of the public from a meeting in certain circumstances; and WHEREAS, East Amwell Township Committee is of the opinion that circumstances presently exist; and WHEREAS, the governing body of the Township of East Amwell wishes to discuss litigation; and WHEREAS, minutes will be kept and once the matter involving the confidentiality of the above no longer requires that confidentiality, then minutes can be made public; and NOW, THEREFORE, BE IT RESOLVED, that the public be excluded from this meeting. I, Krista M. Parsons, Acting Municipal Clerk, hereby certify that the foregoing resolution is a true and accurate copy of a resolution adopted by the Township Committee of East Amwell at a regular and duly convened meeting held on February 11, 2021.
    [Show full text]
  • Ludwig Van Beethoven a Brilliant Pianist, but When Born: December 16, 1770 He Was Around 30 Years Old Died: March 26, 1827 Beethoven Began Going Deaf
    SymphonySecond No. Movement 8 in F Major Ludwig van Beethoven a brilliant pianist, but when Born: December 16, 1770 he was around 30 years old Died: March 26, 1827 Beethoven began going deaf. Even though he could no Ludwig van Beethoven was longer hear well enough to born in Bonn, Germany. His play the piano, Beethoven father, who was a singer, composed some of his best was his first teacher. After a music after he lost his while, even though he was hearing! still only a boy, Ludwig became a traveling Beethoven is considered performer, and soon he was one of the greatest musical supporting his family. geniuses who ever lived. He may be most famous for his In his early twenties nine symphonies, but he also Beethoven moved to Vienna, wrote many other kinds of where he spent the rest of music: chamber and choral his life. Beethoven was one pieces, piano works, string of the first composers to quartets, and an opera. make a living without being employed by the church or a member of the nobility. At first, he was known as Beethoven’s Music Listen to the second movement of Beethoven’s 8th Symphony, then answer the questions below. 1. How many “ticks” do you hear before the melody begins? a. 2 b. 5 c. 7 d. 8 2. What instrument plays the melody first? a. violin b. viola c. cello d. bass 3. Does the orchestra get loud suddenly? a. yes b. no 4. Does the music sound like it’s jumping around the orchestra? a.
    [Show full text]
  • Kick-Off Summary Report
    KICK-OFF EVENT SUMMARY REPORT SUBMITTED TO: City of San Antonio Transportation & Capital Improvements Department SUBMITTED BY: Parsons Brinckerhoff SUBMITTED ON: May 18, 2015 City of San Antonio Department of Transportation and Capital Improvements 114 West Commerce St. | San Antonio, TX 78283-3966 | 210-207-8987 | SATomorrow.com INTRODUCTION ...................................................................................................... 2 OUTREACH .............................................................................................................. 3 E-Blast ..................................................................................................................... 3 Advertisements ....................................................................................................... 3 Social Media............................................................................................................ 4 Media Relations ...................................................................................................... 8 Flyer Distribution ..................................................................................................... 8 Attendance .............................................................................................................. 9 OPEN HOUSE SUMMARY ...................................................................................... 10 SA Tomorrow Station ............................................................................................ 10 The Comprehensive Plan ....................................................................................
    [Show full text]
  • Return of Private Foundation CT' 10 201Z '
    Return of Private Foundation OMB No 1545-0052 Form 990 -PF or Section 4947(a)(1) Nonexempt Charitable Trust Department of the Treasury Treated as a Private Foundation Internal Revenue Service Note. The foundation may be able to use a copy of this return to satisfy state reporting requirem M11 For calendar year 20 11 or tax year beainnina . 2011. and ending . 20 Name of foundation A Employer Identification number THE PFIZER FOUNDATION, INC. 13-6083839 Number and street (or P 0 box number If mail is not delivered to street address ) Room/suite B Telephone number (see instructions) (212) 733-4250 235 EAST 42ND STREET City or town, state, and ZIP code q C If exemption application is ► pending, check here • • • • • . NEW YORK, NY 10017 G Check all that apply Initial return Initial return of a former public charity D q 1 . Foreign organizations , check here . ► Final return Amended return 2. Foreign organizations meeting the 85% test, check here and attach Address chang e Name change computation . 10. H Check type of organization' X Section 501( exempt private foundation E If private foundation status was terminated Section 4947 ( a)( 1 ) nonexem pt charitable trust Other taxable p rivate foundation q 19 under section 507(b )( 1)(A) , check here . ► Fair market value of all assets at end J Accounting method Cash X Accrual F If the foundation is in a60-month termination of year (from Part Il, col (c), line Other ( specify ) ---- -- ------ ---------- under section 507(b)(1)(B),check here , q 205, 8, 166. 16) ► $ 04 (Part 1, column (d) must be on cash basis) Analysis of Revenue and Expenses (The (d) Disbursements total of amounts in columns (b), (c), and (d) (a) Revenue and (b) Net investment (c) Adjusted net for charitable may not necessanly equal the amounts in expenses per income income Y books purposes C^7 column (a) (see instructions) .) (cash basis only) I Contribution s odt s, grants etc.
    [Show full text]
  • President's Newsletter
    President’s Message Volume 4, Issue 2—April 2011 Greetings friends, alumni, faculty, staff and students. “A Point of Pride in the Community” Temperatures in San Antonio cooled off in February and March, but President’s Newsletter not the excitement and activity at St. Philip’s College. While students and faculty were settling SPC celebrates 113th in for a new semester of scholastic pursuit, anniversary the context around them was alive with St. Philip’s College celebrated the 113th energy. anniversary of its founding on Tuesday, March February brought a vibrant Black History 1 with a reception at the college’s Center for Month observance. One of our first fine Health Professions atrium. arts graduates, John Coleman, exhibited his critically acclaimed work at the Morgan More than 100 attendees witnessed the Gallery. recognition of corporate partner AT&T, which donated an original art work collection March was a celebration of 113 years valued at nearly $100,000 to the college. The of providing educational access. It was AT&T Vice President for External Affairs observed in fine fashion, with a reception 25-piece collection is displayed at the college’s Michelle Thomas and Lisa Soto admire the thanking AT&T for its donation of a three newest buildings—the Welcome Center, anniversary cake at the 113th anniversary valuable art collection to the college. The the Center for Health Professions and the celebration with Chef Cynthia de la Fuente. event was also a showcase for our fine arts Center for Learning Resources. talent. Ivy Taylor, Alamo Colleges Trustee James Among the community leaders and educators Rindfuss and Chancellor Bruce Leslie, Pastor On March 4, we held our 3rd annual present were Michelle Thomas and Larry Tony Regist from St.
    [Show full text]
  • Music Tech-1
    Radnor Middle School Course Overview Music Technology I. Course Description Music Technology is offered as an eighth grade music elective, meeting three times a cycle. Students will be introduced to the study of music technology and music fundamentals. Areas of instruction will include instrument and equipment care, beginning level music literacy (reading and writing music), keyboard performance skills, music technology related history, concepts, terminology and experience with a variety of applications. II. Resources, Materials , Equipment • iMacs • GarageBand • Korg K61p MIDI Studio Contoller Keyboards • Student Journals III. Course Goals, Objectives (Essential Questions, Enduring Understandings) Students will be able to: 1. Accurately perform melody, harmony and rhythm parts of a composition and record the parts separately into the sequencer of the keyboard. 2. Accurately perform melody, harmony and rhythm parts of their own composition and record the parts separately into the sequencer of the keyboard. 3. Record multiple parts to an electronic “sound piece” using non-traditional instrument timbres and effects. 4. Orchestrate and perform three- and four-part synthesizer ensemble pieces within expected performance parameters for their individual levels of expertise. 5. Transfer sequenced MIDI files from the keyboard disk into the computer and, using appropriate software, edit needed corrections, format, and print out the composition. 6. Change instrumentation using an existing music composition stored as MIDI data; and alter tempo, range, and dynamics during the course of the piece, while still maintaining the original integrity of the composition. 7. Compose a four-part electronic sound piece using varied timbre (tone), texture, and dynamics of at least three minute length. Students may incorporate digitally recorded audio sounds into this piece.
    [Show full text]