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That classical music listeners are not always classical music attenders is a fact that continues to distress the orchestral community in the UK ? and it seems that the problem is by no means unique to this country.
A recently completed two-year study of classical music audiences in the US*, the findings of which were distributed to just about every orchestra, opera, chamber music group and performing arts venue in the country, set out to find out why ?there are many adults with connections to classical music who do not regularly attend concerts by their local orchestras?.

?Potential consumers of classical music? were identified based on their responses to questions about their arts interests, and just over half of all respondents were found to be potential consumers. However, fewer than a quarter of these (22%) claimed to be ?very interested? in attending concerts by their local orchestras. Most of the rest (71%) considered themselves to be ?open to attending, but it?s not a high priority?.

So if these people really are potential classical music consumers, where are they getting their ?fix?? The most common setting for experiencing classical music was found to be the car, followed by the home, where consumption primarily took the form of radio-listening, followed by recordings. Six out of ten ticket buyers were found to listen to classical music on the radio every day or several times a week. Experiences of live classical music were described by respondents in a range of informal settings such as schools, places of worship, outdoor amphitheatres and private homes, as well as formal concert venues.

At the root of the issue seems to be a divergence between the consumer?s definition of classical music and the somewhat narrower definition ?idealised by orchestras, music directors and musicians?. For example, when respondents were asked to describe the last classical concert they attended, community bands, choral music, instrumental and vocal recitals, chamber music, opera and musical theatre performances and even Cirque du Soleil were all mentioned, as well as concerts by symphony orchestras. Potential consumers were also found to enjoy classical music in the advertisements they see on television, through playing instruments themselves, by performing vocal music and even through the ring-tones on their mobile phones!

Current audiences, as well as potential consumers, are happy to own up to a relatively limited understanding and knowledge of classical music; on average only one third of ticket buyers defined their knowledge of classical music as ?sophisticated?. Indeed, rather than the music, it seems that social context is a key driver of classical music attendance. Six out of ten potential classical music consumers were found to have close friends or immediate family members who attend classical concerts, and among ticket buyers this rose to eight out of ten. Furthermore, when asked why they attend live concerts, ticket buyers revealed layers of value which were not always related to what is happening on the stage. Motivations such as entertaining friends or family, nurturing personal relationships and spiritual and therapeutic benefits surrounded the artistic and educational experience.

The report concludes that, unpalatable though it may be, the majority of decisions to attend a classical music performance may be motivated by factors other than the artists and repertoire commonly promoted by an orchestra?s marketing. It recommends marketing tactics and other structural changes to the concert experience and repertoire to attract a greater diversity of buyers. Facilitating attendance in small social groups is proposed, in order to create a social context and thereby overcome a major barrier to attendance for these potential consumers. New initiatives are also recommended for the many casual listeners who would like to develop their knowledge of classical music and would appreciate some help to do so. Standard practices such as pre-concert lectures and programme notes were found to appeal to those already knowledgeable rather than providing support to casual listeners. Potential alternatives discussed by the research include greetings from the stage, short introductions, longer intermissions to provide more opportunities for socialising and less formal attire for performers ? though this would inevitably create dilemmas given that the ?ritual/ambience? value of concert going is highly rated by many current attenders.

As for subscription schemes ? the bedrock of many US orchestras? finances ? although highly effective on a cost-per-ticket-sold basis, they appear to deter younger audiences. On average half of subscribers were found to be over the age of 65 with 17% of these aged 75 or older. Given that the average life expectancy in the US is currently about 77 years, meeting the needs of those non-attending potential consumers is starting to look like a real priority.

*Classical Music Consumer Segmentation Study: How Americans Relate to Classical Music and Their Local Orchestras (October 2002) Audience Insight LLC; Alan S. Brown, Project Director. This study was commissioned by 15 American Orchestras and the John S. and James L. Knight Foundation.
To request a copy of the report,
e: publications@knightfdn.org