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© 2013 WolfBrown New World Symphony Program Format Assessment Technical Report: Summary Research Results, 2010 to 2013 June 2013.

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Presentation on theme: "© 2013 WolfBrown New World Symphony Program Format Assessment Technical Report: Summary Research Results, 2010 to 2013 June 2013."— Presentation transcript:

1 © 2013 WolfBrown New World Symphony Program Format Assessment Technical Report: Summary Research Results, 2010 to 2013 June 2013

2 © 2013 WolfBrown Table of Contents 3Data Collection Methodologies 4Response Rates 5-10New World Symphony Results – All Formats 11-14New World Symphony Results – Key Finding by Age 15-19New World Symphony Results – Mini-Concerts 20-26New World Symphony Results – Encounters 27-30New World Symphony Results – Journey 31-39New World Symphony Results – PULSE 40-48Summary Comparison of Partner Results 49Appendix 1: Survey Protocols

3 © 2013 WolfBrown Data Collection Methodologies New World Symphony commissioned WolfBrown to assist in assessment experiments in alternate- concert formats. Assessment methods included qualitative techniques (focus groups), and quantitative techniques (in-venue surveys). This report covers survey findings by format and program date, revealing general trends and key statistical findings. It serves as a companion to the narrative summary assessment report. WolfBrown conducted focus groups before and after Encounters, Journey, and PULSE events in 2011, then trained NWS to conduct these discussions independently. NWS staff continued focus group work throughout the assessment period, concentrating on Encounters and PULSE formats. Discussion topics included perceptions and expectations, knowledge of music and NWS, general musical tastes, feedback on the experience, and potential improvements. In-venue surveys were administered at all Mini-concerts and Encounters programs between April 2010 and March Only two Journey concerts (October 2011 and February 2012) were surveyed. –All patrons were handed a survey packet, which included a questionnaire and a pre-paid return envelope, as they exited the concert hall. Instructions directed audience members to take the survey home with them, and mail back the completed form with the accompanying pre-paid envelope. –Between 300 and 800 surveys were distributed at any given performance. An online survey was sent via invitation to all PULSE ticket buyers and Friends members, as well as audience members whose s were collected at the event. 3

4 © 2013 WolfBrown Methodologies - Continued In 2012, NWS invited five orchestras, each also experimenting with new concert formats, to join them in assessing audience experience: Charlotte Symphony Orchestra, Detroit Symphony Orchestra, Kansas City Symphony, Memphis Symphony Orchestra, and San Diego Symphony. Pittsburgh Symphony Orchestra was welcomed into the partner cohort in Spring 2013, with their presentation of Mercury Soul. All partners administered in-venue survey packets at appropriate events. All survey results were reported through WolfBrown’s proprietary online dashboard tool. The tool provides each partner access to their own results and allows for interactive exploration of the data (e.g., comparison of results by program date, by age, first-timer status, knowledge level, etc.) 4

5 © 2013 WolfBrown Response Rates In total, 3,003 surveys were collected across all NWS events. Response rates ranged from approximately 12% to 25%. Individual format response is as follows: –Mini-concerts: 1,136 –Encounters: 994 –Journey: 309 –PULSE: 564 Response rates for partner organizations also ranged from approximately 15% to 40%. Differences in response can be partly ascribed to size of house, attendance, and methodology (e.g., in-venue mail-back methodologies yielded higher response rates than s to known ticket buyers or to audience members who provided s on-site through an intercept methodology). Response enhancements, such as signage and pre-curtain announcements, also appeared to have an effect. For example, Kansas City implemented both enhancement strategies, and their response was nearly double other partners (e.g., 40% vs. 20% in some cases). 5

6 © 2013 WolfBrown 6 New World Symphony Results: All Formats

7 © 2013 WolfBrown Demographics by Format – All Years The table at left describes general demographic profiles of New World Symphony respondents by format (results are aggregated across all seasons). PULSE and Mini-Concerts attracted youngest and most diverse audiences (55% and 27% under 45 respectively; 46% and 36% African American, Hispanic, Asian or Other/mixed, respectively). –Only 11% of Encounters and 2% of Journey respondents are under 45. It is heartening that the aggregate results show how 29% of 2012/2013 respondents identified as racially diverse. Typically, other research into orchestra audiences shows that only 10 to 15% of respondents identify as racially diverse (i.e., non-white). *Race / Ethnicity does not total 100% because respondents were able to self-identify with more than one race / ethnicity 7

8 © 2013 WolfBrown 8 Demographics by Format and First-Timer Status – All Years Across all formats, first-time attenders are typically younger, more diverse, and more likely to be single. First-timer attenders to Encounters skew older than other formats (43% of respondents were 65+, compared to 22% and 2% of Mini-Concert and PULSE respondents, respectively). *Ethnicity percentages don’t total 100% because respondents were allowed to self-report multiple / mixed ethnicities

9 © 2013 WolfBrown Knowledge Level Respondents defined their own level of knowledge of classical music in general. The chart at left comparing knowledge levels across formats clearly shows that Journey respondents felt most knowledgeable, followed by Encounters and Mini- Concerts. PULSE respondents felt least knowledgeable, which may be a reflection of the young age skew (i.e., younger respondents are less knowledgeable than their older counterparts). 9

10 © 2013 WolfBrown Overall Satisfaction Encounters, Journey, and PULSE concertgoers were asked about their satisfaction with the “overall investment of time and money.” Overall satisfaction is extremely high across all formats from year to year, and increased between 2010 and Results suggest that the format changes NWS implemented during the assessment period had a positive affect on the audience experience. 10

11 © 2013 WolfBrown Relationship between Impact and Positive Association with Future Attendance WolfBrown conducted regression analysis in order to better understand and explain the relationship between aesthetic development and emotional impacts and positive association to attending NWS events in the future. The chart at left shows the percentage of change in whether or not a respondent felt more positively towards attending in the future (y-axis) based on whether or not they experienced aesthetic and emotional impacts at a high level (x-axis). The results show that the strength of emotional response and degree to which audience members’ gaining a better appreciation of classical music can predict whether or not they feel positively towards future attendance. “Better appreciation of classical music” accounts for 35% of the variance in predicting positive feelings towards future attendance for Encounters’ respondents, highest amongst all formats. “Strength of emotional response” accounts for 40% of the variance in predicting positive feelings towards future attendance for PULSE respondents, highest of all formats. 11

12 © 2013 WolfBrown 12 New World Symphony: Results by Age

13 © 2013 WolfBrown Under 55 audiences at Encounters, Mini- Concerts and PULSE are more likely to be inexperienced concertgoers. 42% were First-time attenders 63% bought single tickets 34% reported low knowledge of classical music 47% attended two or fewer concerts in the past year 59% were unfamiliar with composer and/or subject matter (Encounters) 13

14 © 2013 WolfBrown Aesthetic Growth and Intellectual Stimulation by Age The chart at left compares results of the level of aesthetic growth and intellectual impacts experienced as a result of attending the program, partitioned by age cohort. Respondents under 55 years old were more likely to report higher levels of aesthetic growth and intellectual stimulation. –Two-thirds of under-55 respondents said they felt better equipped to appreciate classical music in the future, and another 80% left with a greater appreciation for the composer or works performed, compared to 61% and 74% of over-55 respondents. –71% of under-55 respondents reflected on the music or subject matter of the concert afterwards, compared to 68% of over-55 respondents. 14

15 © 2013 WolfBrown Trends in Age Age distribution is a key measurement of success for all formats. The chart at left shows age distribution (under 55 versus 55 and older) by season and format. The proportion of under-55 respondents increased from season to season across all formats, from 36% in 2010/2011 to 50% in 2012/2013 (result based on aggregated data across all formats). This was especially true for Encounters, which saw the biggest jump, from 17% in 2012/2011 to 28% in 2012/2013, a 65% increase. Under-55 PULSE respondents ranged from 78% in 2010/2011 to 82% in 2011/

16 © 2013 WolfBrown 16 Format Specific Findings: Mini-Concerts

17 © 2013 WolfBrown Summary Descriptive Statistics 17

18 © 2013 WolfBrown Summary Impact and Satisfaction Results Mini-concerts were successful in attracting a significant proportion of younger and more diverse audiences. The proportion of under-45 respondents increased from 21% in February 2011 to 34% in January 2013, and peaked in November 2012 with 39%. In addition, between 34% and 39% of 2012/2013 season respondents identified with other ethnic groups, significantly higher than Encounters audiences (22% average in 2012/2013 season). Regarding impact, overall emotional resonance was high, with a slight increase from 4.4 in Feb to 4.6 in Jan Aesthetic development (“better appreciation of classical music in the future”) was also above average, peaking at 4.1 in February and November Interesting to note is the range in percentage of respondents having intense conversations afterwards (from a low of 14% in November 2012 to a high of 25% in February 2011). This is most likely due to the difference in programming. Satisfaction with program elements was high across all concert dates. Overall, respondents were highly satisfied with “quality of musicians’ performance” (4.8 average across all seasons), followed by “spoken introductions” (4.5), and “length of concert” (4.3). Open ended responses support the high appreciation for musicianship. Respondents with an already strong relationship with NWS (e.g., repeat attenders and more knowledgeable audience members) noted how much they appreciated the opportunity to hear NWS’s musicians, regardless of length and format of concert. Likelihood to attend (i.e. whether or not the experience had a positive influence on future attendance), increased from the initial Mini-Concert (4.2) to a high of 4.7 in November

19 © 2013 WolfBrown Purchase Decision Time-Frame – Mini-Concerts The Mini-Concert survey questionnaire included a question about purchase decision time-frame, because NWS was interested in testing whether or not the Mini-Concerts were successful in attracting late buyers. The chart at left shows results by season. Overall, 44% of respondents made the decision to attend Mini-concert three or fewer days in advance of the performance. In the first two seasons of assessment, over one- quarter decided to attend the day of the concert. This number dropped to 18% in the 2012/2013 season. Between 36% and 42% of respondents planned in advance, deciding to attend 8 or more days prior to the performance. Results suggest the Mini-Concerts are successful in attracting late and spontaneous buyers, whose decision-making process is difficult to understand and influence. Qualitative data from the open-ends supports the idea that the low-cost, short time- frame, and generally casual nature of the format offer a low-risk option that draws the casual consumer. 19

20 © 2013 WolfBrown Sources of Information – Mini-Concerts The chart at left displays how respondents learned about about the Mini-Concerts. It is clear that word of mouth has increased in predominance from season to season (21% in 2010/2011 to 37% in 2012/2013). Respondents’ citation of NWS s as a source of information also increased from 7% in 2010/2011 to 12% in 2012/2013. The ‘announcer in front of the concert hall’ became a less prominent source of information following the 2010/2011 season. This is not surprising, given the strategy was better suited to NWS’s previous location on Lincoln Road, where passers-by were more common than in front of the New World Center. 20

21 © 2013 WolfBrown 21 Format Specific Findings: Encounters

22 © 2013 WolfBrown Summary Descriptive Statistics 22

23 © 2013 WolfBrown Summary Descriptive Statistics Review Only 18% of April 2010 respondents were aware of the enhancements included in the program (e.g., spoken introductions). This was a surprising finding, given that these educational enhancements were one of the defining characteristics of Encounters that distinguishes the format from others. It was initially thought that audience members were aware and chose to attend Encounters because of these enhancements. However, survey results suggest that audience members “happened upon” the Encounters format, and therefore less prepared. – NWS worked to increase awareness of format elements, and consequently, respondents reporting prior knowledge increased to 35% for the next concert (November 2010), and peaked in February 2012 (48% aware). Only 15% of respondents across all seasons would have enjoyed the concert without enhancements, indicating a high level of satisfaction with the structure of the format. Between 53% and 76% of respondents attended the pre- or post-concert social festivities, and on average, respondents felt festivities enhanced their experienced (3.8 on a scale of 1 to 5, from ‘detract from experience’ to ‘enhance experience’; not shown). 23

24 © 2013 WolfBrown Frequency of Attendance Respondents were asked, “How many classical music concerts have you attended (including New World Symphony) in the past year?” Results by program date are displayed in the chart at left. –Low: Zero to 2 concerts –Moderate: 3 to 5 concerts –High: 6 or more concerts In general, Encounters respondents were experienced concertgoers, with between 48% and 71% reporting high frequency (6+ concerts). November 2011 attracted the greatest proportion of low- frequency respondents, with 30% attending two or fewer concerts in the past year. 24

25 © 2013 WolfBrown Knowledge and Familiarity Levels Respondents were asked to self-assess their level of knowledge of classical music as well as how familiar they were with the composer or subject matter of that particular concert. Results are shown by program date. Overall, knowledge and familiarity levels are relatively average. However, familiarity with composer/subject matter is highly variable, most likely a reflection of the program itself. For example, familiarity with de Falla is low (2.3; November 2010) compared with Stravinsky (2.9; February 2011). Respondents reported lowest levels of familiarity with Wagner and Brahms in November 2012, whereas March 2013 respondents, though similarly knowledgeable about classical music in general, were much more familiar with the subject matter of that concert (influence of jazz on Bernstein, Ravel and Gershwin). –Although initially surprising that familiarity would be lowest for Wagner and Brahms, results most likely reflect the young age skew of the sample. In other words, respondents who attended the Wagner and Brahms concerts were younger, more likely to be first-timers, and generally less experienced concert-goers overall. 25

26 © 2013 WolfBrown Summary Impact and Satisfaction Results Summary of impact and satisfaction. 26

27 © 2013 WolfBrown Summary Impact and Satisfaction Results Overall captivation and satisfaction levels were high across all Encounters concerts. Respondents reported higher emotional resonance for the November 2011 (Romeo & Juliet) and November 2012 concerts (Wagner and Brahms), with an average rating of 4.5 and 4.4, respectively. In general, the concert exploring music inspired by Romeo & Juliet (November 2011) achieved the highest impacts in comparison with other programs, followed by Strauss (April 2010). Satisfaction with different program elements was also high across all Encounters concerts. This is especially true with artistic quality indicators such as “conductor’s performance” (4.8), “quality of musicians” (4.8), and “selection of pieces” (4.6). Satisfaction with the spoken introductions dropped significantly in November 2010 and February 2011, and only started to increase after an adjustment in approach and script in November The Encounters experience was a highly positive influence on interest in attending other NWS events in the future. Respondents reported positivity of between 4.3 and 4.7 on a scale of 1 to 5. Again, November 2011’s Romeo & Juliet themed concert received higher averages regarding interest in future attendance than other programs. Similarly, overall satisfaction was nearly perfect, as respondents rated their satisfaction with ‘investment of time and money’ an average of 4.7 out of 5 across all Encounters programs. November 2011 received highest overall satisfaction scores (4.9), whereas February 2011 received the lowest (4.6). 27

28 © 2013 WolfBrown 28 Format Specific Findings: Journey

29 © 2013 WolfBrown Summary Descriptive Statistics 29

30 © 2013 WolfBrown Summary Descriptive Results We conducted in-venue surveys for two Journey concerts - October 2011 (focus on Beethoven), and February 2012 (focus on Mozart). Subscribers comprised over half of all respondents, however the proportion of subscribers decreased from 2011 to 2012 (76% and 64%, respectively). Overall knowledge levels of classical music and familiarity with the composer are well above average (3.5 to 3.8). –The Mozart program attracted a more knowledgeable audience who were more likely to be familiar with the composer than Beethoven audiences. One of the more interesting aspects of the Journey concerts it the diversity of works presented. Although almost all respondents knew the concert focused on one composer’s works, less than half (24% in 2011 and 37% in 2012) were aware that it would include a presentation of a range of different sized ensembles (and include vocal as well as instrumental pieces). It is also clear that the majority of Journey respondents are not aware about the length of the concert (only 22% in 2011 and 38% in 2012 knew that it would last for three hours). –How to communicate about the length of the concert without alienating audiences has been an ongoing challenge. 30

31 © 2013 WolfBrown Summary Impact and Satisfaction Results Journey respondents achieved the highest captivations levels. This is heartening in that the premise of the Journey format is to, literally, “take people on a journey” so that they get swept away in the music. Emotional resonance was slightly higher for the Mozart concert, whereas the amount of reflection on the composer and his works (intellectual stimulation) was higher for Beethoven respondents. Overall satisfaction was extremely high, as were satisfaction levels amongst all program format elements. 31

32 © 2013 WolfBrown 32 Format Specific Findings: PULSE

33 © 2013 WolfBrown 33 Summary Descriptive and Impact Results

34 © 2013 WolfBrown Summary Descriptive and Impact Results Under-45 respondents comprised 42% to 62% of samples, peaking in January Interestingly, March 2012 and March 2013 achieved the highest impact scores, but why these two events stood out for respondents is not clear. Given that captivation was highest for these two events, it is not surprising that other impacts were higher as well. 34

35 © 2013 WolfBrown Length of Stay by Age Respondents were asked how long they stayed at PULSE. The chart at left shows results by age. Across all seasons, fifty-one percent of respondents stayed over two hours (not shown). The chart at left shows that respondents under 45 were more likely to stay longer (81% stayed at least 90 minutes compared to 77% of 45- to 64-year-old respondents, and 71% of the 65+ cohort). Overall, PULSE was successful in creating an experience in which audience members had control over how much time they dedicated to the event. 35

36 © 2013 WolfBrown PULSE Activities by Age Given the range of activities available to audiences at PULSE, NWS sought to better understand the variety of activities in which audiences engage. The chart at left shows results for activities by age. Multiple responses were allowed, therefore percentages do not add up to 100%. It is clear that younger respondents are engaged in a greater variety of activities overall. –Under 45 year old respondents are most likely to be found socializing, dancing, and engaging digitally (e.g., taking photographs on their cell phone, texting or someone). –Older respondents are more likely to ‘sit quietly and watch’ (65% of 45 to 64 year olds, and 79% of 65+ respondents). There is evidently a strong bifurcation of interests between generations – younger audiences prefer active engagement, whereas older respondents are more likely to observe. Even so, it is interesting to note that 60% of 45 to 64 year old respondents took photographs on their cell phone during the event. In reviewing results by event date (not shown), the incidence of respondents reporting having danced during PULSE increased significantly from 10% in February 2011 to 57% in March

37 © 2013 WolfBrown Post-performance Engagement – Intense Discussion A key indicator of intellectual stimulation is the degree to which respondents discussed the experience afterwards. Results (shown at left) show that PULSE respondents were far more likely to have had an intense discussion after the experience, compared to Mini-Concert and Encounters (31% versus 21% and 20%, respectively). –This is perhaps due to the fact that PULSE is such a unique format that it inherently inspires conversation. Casual conversation with others is a powerful form of post-performance engagement, enjoyed by 62% to 70% of respondents; respondents reporting any kind of post-performance discussion, either “casual” or “intense,” ranged from 88% - 93%.. –How could NWS and its partners enhance casual conversation, even as it happens outside of the venue itself? 37

38 © 2013 WolfBrown Summary Satisfaction Results Satisfaction with a range of program elements increased from February 2011 to March In particular, selection of pieces (both classical and electronic), and quality of musicianship. Out of all the program elements tested in the survey questionnaire, respondents reported the lowest satisfaction with ‘selection of food and drink.’ It is heartening that both positivity towards future attendance, as well as overall satisfaction have increased as well from 2011, closing with an average score of 4.7 for overall satisfaction. The lighting and lasers had a strong effect in enhancing respondents experience (average of 4.6 across all program dates). 38

39 © 2013 WolfBrown Regression Analysis – Selection of Music Regression analysis was conducted to explore relationships between satisfaction with specific program elements and overall satisfaction. Satisfaction with classical music selections accounts for 20% of the variance in overall satisfaction (see chart at left). Satisfaction with electronic dance music accounts for 28% of the variance in overall satisfaction (see chart at bottom). –Open-ended responses to the 2012/2013 PULSE events underscore how some respondents evaluated the event on the DJ’s performance. 39

40 © 2013 WolfBrown Regression Analysis – Ambiance and Overall Satisfaction However, the ambiance of the social spaces trumps other program elements in determining overall satisfaction: 44% of variance in satisfaction is determined by whether or not respondent was satisfied with ambiance. Results indicate that the overall structure and setting of PULSE are what dictate satisfaction. Its distinctive structure is highly appealing and effective for those who attend. 40

41 © 2013 WolfBrown 41 Summary Comparison of Partner Results

42 © 2013 WolfBrown Format Descriptions KnightSounds (Charlotte Symphony Orchestra) is a socially-oriented concert format underwritten by the Knight Foundation. Each concert focuses on a single theme (e.g., Ballroom) or composer (e.g., Tchaikovsky), and tickets are sold general admission for $39 (they have since reduced ticket prices to $29). Food and drinks are offered before the concert and allowed in the hall during the performance. Select performances have incorporated other artists and artistic disciplines (e.g., ballet, opera, video animation). (Detroit Symphony Orchestra) was developed to reconfigure the classic music concert in the context of an interactive social experience. The concerts highlight local and/or new artists, such as the Chicago House Ensemble, and seating is cabaret-style for a more casual atmosphere. Select events feature a unique pre-performance experience, like photo booths and a red-carpet ambiance. Classics Uncorked (Kansas City Orchestra) incorporates a more socially-oriented event with a thematic or one- composer-focused concert. The $25 ticket includes a glass of wine or champagne, and concerts range in subject from the influence of Latin music on classical works, to works telling stories of love and loss. Opus One (Memphis Symphony Orchestra) is a unique model that was created by MSO’s musicians, who wanted to expand their interests and reach through collaboration with local musicians from different musical genres. Each Opus One concert is presented in a different venue in the Memphis area, ranging from Latin salsa clubs to larger rock music venues. Collaborating artists include musicians from the hip hop, rock, and salsa music genres. Mercury Soul (Pittsburgh Symphony Orchestra) is similar to PULSE in many respects, primarily due to the fact that DJ Mason Bates and Mercury Soul were part of the original artistic team of PULSE in The format included alternating classical and electronica sets, as well as special lighting, laser, and video displays. Symphony Exposé (San Diego Symphony) is San Diego Symphony’s effort to explore new concert formats. Exposé concerts focus on one musical work, or a family of works, and dedicate the first half of the program to “telling the story” behind that work. They have integrated actors and singers in the telling of the music’s background and story, sometimes taking on the character of the composer(s) or others who influenced the music. The second half of the concert has the orchestra presenting the work. 42

43 © 2013 WolfBrown Demographics by Partner The older age skew of Charlotte, Kansas City, and San Diego samples is similar to what we would expect to see in a traditional concert format, with 55%, 45%, and 51% of respondents are 65 and older, respectively. Interestingly, Detroit, Memphis, and Pittsburgh attracted a decidedly younger crowd to their PULSE-like events. –Note that Detroit and Pittsburgh samples are relatively unstable (n<100), and therefore, although we do make comparisons between their samples and others, it remains difficult to generalize about all and Mercury Soul audiences based on this data. We recommend continuing data collection and aggregating over the course of another season or two, as we did in Memphis with Opus One. 43

44 © 2013 WolfBrown Post-Performance Discussions – All Formats Post-performance engagement is primarily measured through whether or not respondents discussed the experience afterwards, as well as intensity. The chart at left shows results by partner (NWS results reported in aggregate). NWS, MSO and PSO respondents were most likely to report having an ‘intense exchange’ afterwards. –It is important to note that MSO and PSO represent the other PULSE-like type events included in the cohort, because PULSE respondents were by far most likely of all partners and format to report intense exchanges (30% across all PULSE events). Evidently, the distinct elements of formats that are fundamentally different from a traditional concert format— alternative venues, combination of musical genres, inclusion of visual elements— spur conversation. How are the partners capitalizing on the “buzz?” 44

45 © 2013 WolfBrown Satisfaction by Format Partners’ surveys included most of the satisfaction indicators from the NWS surveys. The chart at left displays average results for those partners’ shared. Satisfaction is extremely high across all partners, in particular regarding quality of musician’s performance (pink triangles). Overall satisfaction across shared indicators was highest, on average, for Kansas City’s Classics Uncorked and Charlotte’s KnightSounds. Spoken introductions received the lower ratings for NWS Encounters (3.9), in comparison with Mini-Concerts (4.7), Charlotte KnightSounds (4.9), and Classics Uncorked (4.8). 45


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