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EARLY MUSIC AUDIENCES: A SURVEY AND ANALYSIS OF
EARLY MUSIC CONSUMERS IN TEXAS
Julianna Emanski, B.M., M.M.
Dissertation Prepared for the Degree of
DOCTOR OF MUSICAL ARTS
UNIVERSITY OF NORTH TEXAS
August 2020
APPROVED: Stephen Morscheck, Major Professor Fabiana Claure, Committee Member Stephen F. Austin, Committee Member Molly Fillmore, Chair of the Division of Vocal
Studies Felix Olschofka, Director of Graduate Studies
in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse
Graduate School
Emanski, Julianna. Early Music Audiences: A Survey and Analysis of Early Music
Consumers in Texas. Doctor of Musical Arts (Performance), August 2020, 63 pp., 5 tables, 14
figures, 4 appendices, bibliography, 70 titles.
Texas has a rich tradition of Early Music ensembles that dates back to 1969. However,
there is little reliable information based on statistical data collection and analysis concerning
Texas Early Music consumers. Little is known about why they attend Early Music performances
or other important factors that affect the Early Music industry. Through the use of an extensive
survey and accompanying statistical analysis, this study answers many questions regarding Early
Music consumers in the State of Texas. This study collected demographic and psychographic
data in January 2020 about the Early Music concert-going public in three major Texas cities -
Dallas, Austin, and Houston. Other factors were identified in two primary areas: audience
characteristics and ticket pricing practices.
ii
Copyright 2020
by
Julianna Emanski
iii
TABLE OF CONTENTS
Page
LIST OF TABLES .......................................................................................................................... v
LIST OF FIGURES ....................................................................................................................... vi
CHAPTER 1. INTRODUCTION ................................................................................................... 1
CHAPTER 2. REVIEW OF THE LITERATURE AND SIGNIFICANCE OF RESEARCH ....... 4
CHAPTER 3. METHODOLOGY ................................................................................................ 12
3.1 Selection Process of Participating Organizations ................................................. 12
3.2 Designing a Qualitative and Quantitative Questionnaire ...................................... 13
3.3 Distribution and Collection of Data ...................................................................... 15
CHAPTER 4. TEXAS EARLY MUSIC CONSUMER PROFILE .............................................. 16
4.1 Early Music Consumer Demographics ................................................................. 16
4.2 Early Music Consumer Attendance Trends .......................................................... 19
4.3 The Concert Venue ............................................................................................... 20
4.4 Advertisements Trends ......................................................................................... 22
4.5 Psychographics ..................................................................................................... 24
4.5.1 How Early Music Consumers See Themselves ........................................ 24
4.5.2 Reasons for Attending Early Music Concerts ........................................... 25
4.5.3 Correlations: A Discussion ....................................................................... 26
4.6 Ticket Price ........................................................................................................... 28
4.6.1 Multilevel Analysis of Ticket Price .......................................................... 30
4.6.2 Ticket Price by City: Dallas, Austin, Houston .......................................... 32
CHAPTER 5. CONCLUSION...................................................................................................... 36
5.1 Audience Enthusiasm - Price Sensitivity Matrix .................................................. 36
5.2 Summation ............................................................................................................ 38
5.3 Limitations ............................................................................................................ 41
APPENDIX A. IRB APPROVAL ................................................................................................ 42
APPENDIX B. QUESTIONNAIRE ............................................................................................. 44
iv
APPENDIX C. SUPPLEMENTAL DATA TABLES AND FIGURES ...................................... 50 APPENDIX D. PARTICIPATING ORGANIZATIONS INFORMATION ................................ 55 BIBLIOGRAPHY ......................................................................................................................... 58
v
LIST OF TABLES
Page
Table 2.1: Classical Music Consumer Report: Participating Organizations ................................... 5
Table 3.1: Participating Early Music Organizations in Texas ...................................................... 12
Table 4.1: Early Music Consumer Age with Venue Preference ................................................... 22
Table 4.2: Correlations: Reasons for Attending, Self-Assessment, Ticket Price ......................... 26
Table 4.3: Multilevel Analysis - Ticket Price. .............................................................................. 31
vi
LIST OF FIGURES
Page
Figure 3.1: Classical Music Word Association Word Cloud ........................................................ 14
Figure 3.2: Early Music Word Association Word Cloud ............................................................. 14
Figure 4.1: Early Music Consumer Participant Distribution by City ........................................... 16
Figure 4.2: Early Music Consumer Age Demographics ............................................................... 17
Figure 4.3: Early Music Consumer Demographics ....................................................................... 18
Figure 4.4: Early Music Consumer Attendance Trends of 2019. ................................................. 19
Figure 4.5: Favorite Genre of Performance .................................................................................. 20
Figure 4.6: Venue Preference: Concert Hall vs. Church by Age Group ....................................... 22
Figure 4.7: How Early Music Organizations are Advertising ...................................................... 23
Figure 4.8: Early Music Consumers Preferred Methods of Advertisement .................................. 23
Figure 4.9: Ticket Price by City .................................................................................................... 31
Figure 4.10: Psychographics by City: Reasons for Attending ...................................................... 32
Figure 4.11: Psychographics by City: Self-Assessment ............................................................... 34
Figure 5.1: Audience Enthusiasm - Price Sensitivity Matrix ....................................................... 36
1
CHAPTER 1
INTRODUCTION
The National Endowment for the Arts grasped the potential for the use of statistical
analysis roughly 40 years ago. In 1982 Americans took the NEA’s first Survey of Public
Participation in the Arts, when sufficient computing power was just becoming affordably
available.1 Large businesses and government entities had worked for decades with statisticians to
develop valid survey techniques to gather and process information, but the cost was high. As
mini computers with cathode-ray tube (CRT) input took the place of mainframes with decks of
cards, and were themselves displaced by microcomputers with graphic user interface (GUI), a
revolution took place in the use of statistically valid data for marketing (and for business process
control).2 Today, data collection and computing power have become sophisticated with
techniques that continue to drive increased customer satisfaction and higher revenue3 through the
application of big data,4 analytics, and practical statistical models.
What is true in business must also be true for performing arts organizations. Large
symphonies and orchestras in major cities across the United States function with multi-million
dollar budgets. This allows financial resources to be allocated for their own studies. Furthermore,
large operating budgets also give credibility to be invited to participate in data studies conducted
1 “How a Nation Engages with Art: Highlights from the 2012 Survey of Public Participation in the Arts (SPPA).” National Endowment for the Arts, Office of Research & Analysis, 12 Jan. 2017, accessed July 23, 2019, www.arts.gov/publications/how-nation-engages-art-highlights-2012-survey-public-participation-arts-sppa. 2Stan Rapp and Thomas L.. Collins, Maxi-Marketing: the New Direction in Advertising, Promotion, and Marketing Strategy (New York, NY: McGraw-Hill, 1989). 3 Anindita A Khade. “Performing Customer Behavior Analysis Using Big Data Analytics.” Procedia Computer Science, Elsevier, 9 Apr. 2016, accessed July 19, 2019, www.sciencedirect.com/science/article/pii/S1877050916002568. 4 Big data: extremely large data sets that may be analyzed computationally to reveal patterns, trends, and associations, especially relating to human behavior and interactions.
2
by research foundations. Data-driven research on these organizations has included metadata
collection, focus groups, one-on-one interviews with audience members, and the formation of
experimental ensembles for research purposes, resulting in an abundance of information about
Classical Music consumer audiences. The existing consumer studies have provided pertinent
information about various facets of the Classical Music consumer customer base. However, the
focus has been on large multi-million dollar performing arts organizations. No study to date has
examined audiences who frequent concerts by small organizations dedicated to the niche genre
of Early Music.
Texas has a rich tradition of Early Music ensembles that date back to 1969 when the
Houston Harpsichord Society officially organized (known today as the Houston Early Music
presenting series).5 The earliest Texas Early Music performing arts organizations that continue
their mission to perform on historical period instruments during the time this paper was written
began with the Denton Bach Society in 1976,6 followed by Dallas Bach Society in 1982,7 Texas
Early Music Project in 1987,8 and Orchestra of New Spain in 1989.9 Newly formed ensembles in
Texas have garnered the attention of the internationally distributed magazine publication EMAg
by Early Music America, where author Joshua Figuerora writes that “the new early-music
ensembles of Texas are carving out their own paths in a world of rich tradition.”10 Despite the
5 Houston Early Music. Houston Early Music Overview,https://www.houstonearlymusic.org › about. Accessed 9 Jan. 2020. 6 Denton Bach Society. Denton Bach Society Facebook page https://www.facebook.com/dentonbachsociety/. Accessed 9 Jan. 2020. 7 Dallas Bach Society. Dallas Bach Society about us, https://dallasbach.org/about-us/. Accessed 9 Jan. 2020. 8 Texas Early Music Project. Texas Early Music Project about us, https://www.early-music.org/about. Accessed 9 Jan. 2020. 9 Orchestra of New Spain. Orchestra of New Spain about us, https://www.orchestraofnewspain.org/about-us-1. Accessed 9 Jan. 2020. 10 Joshua Figuerora, “The New(ish) Early-Music Ensembles of Texas,” Early Music America Magazine, January 2020, pp. 28-31.
3
long thriving historic musical tradition in Texas, there is little statistical information based on
data collection and analysis concerning Texas Early Music consumers. Little is known about
why they attend Early Music performances or other important factors that affect the Early Music
industry. Through the use of an extensive survey and accompanying statistical analysis, this
study will answer many questions regarding Early Music consumers in Texas.
4
CHAPTER 2
REVIEW OF THE LITERATURE AND SIGNIFICANCE OF RESEARCH
In 2016, the California Symphony’s Executive Director Aubrey Bergauer launched an
experimental ensemble, Orchestra X, to find and research audience members who are not
frequent Classical Music consumers.11 Bergauer’s hypothesis regarding the experiment was “…
that there are a lot of other factors besides the music itself where orchestras are collectively and
figuratively standing with their fingers in their ears saying, ‘I’m not listening, I’m not listening,
la la la I can’t hear you.’”12 The findings of the Orchestra X experiment strongly affirm the need
for more understanding and cultivation of existing audiences. We must understand their wants
and needs, and adapt to the trends and traditions of today.
The California Symphony functions with a multi-million dollar budget allowing them to
commission their own audience market studies. They created an orchestra specifically for the
purposes of data collection about audiences who did not attend Classical Music performances.
Valuable feedback was garnered about audience concerns apart from the music. Respondents
commented on complicated website navigation, confusing seat selection systems, ticket cost,
what to wear, when to clap, and intimidation about general education and identification of
musical instruments. These are usually the last things an organization looks to improve upon for
their audience. Bergauer states that organizations are too focused on the musical presentation and
confirms, “Almost every single comment about the performance itself was very positive. The
11 Bergauer, Aubrey. “Introducing Orchestra X - Aubrey Bergauer.” Medium, Medium, 11 Apr. 2018, accessed June 2, 2019, medium.com/@AubreyBergauer/https-medium-com-californiasymphony-introducing-orchestra-x-a2fbe9a1bf4c. 12 Ibid.
5
sentiment of complete awe was echoed by almost every person."13
Table 2.1: Classical Music Consumer Report: Participating Organizations14
The John S. and James L. Knight Foundation commissioned the largest and most
comprehensive Classical Music research study ever done in the United States in 2002.15 The
Classical Music Consumer Segmentation Study was designed to help determine how Americans
relate to Classical Music and their local orchestras. In this study, they invited fifteen American
orchestras across the United States to participate and gain a better understanding of their own
audiences, and their audiences’ relationship to Classical Music. This research was conducted on
13 Bergauer, Aubrey. “Introducing Orchestra X - Aubrey Bergauer.” Medium, Medium, 11 Apr. 2018, accessed June 2, 2019, medium.com/@AubreyBergauer/https-medium-com-californiasymphony-introducing-orchestra-x-a2fbe9a1bf4c. 14 Data collected from Guidestar.org 15 Brown, Alan S., et al. “Classical Music Consumer Segmentation Study: Final Report: How Americans Relate to Classical Music and Their Local Orchestras : Commissioned by the John S. and James L. Knight Foundation and 15 American Orchestras.”
6
classical music organizations that operate with budgets in the multi-million dollar range (see
Table 2.1).
The Classical Music Consumer Segmentation Study concludes that both critical and
casual listeners of classical music “place the greatest value on the artistic and educational aspect
of the concert experience. Critical listeners, however, are more in tune with the spiritual and
therapeutic values surrounding the artistic experience, while casual listeners are more likely to
value what’s not happening on stage — the ambience and architectural setting, as well as each of
[the] extrinsic value clusters.” 16
Another large and encompassing research study was conducted by the Urban Institute,
Reggae to Rachmaninoff: How and Why People Participate in Arts and Culture. For this study, a
survey was developed from previous efforts to collect information of cultural participation rates,
such as: The Survey of Public Participation in the Arts17 by the National Endowment for the
Arts, and The General Social Survey18 by the National Opinion Research Center. None of these
studies was specifically focused on classical music organizations, rather a “broad range of arts
and culture experiences.” While there is information to be gained from this work, it is too general
in its focus to be applied for the purposes of Early Music consumers.
Melissa C. Dobson’s research study New Audiences for Classical Music: The
Experiences of Non-attenders at Live Orchestral Concerts focuses on audience members new to
classical music. This study was developed to increase the understanding of why individuals
attend classical concerts and why they do not. The study shows that audiences long for “feelings
16 Ibid., 128. 17 The SPPA survey defined music broadly as “classical and jazz”. 18 The General Social Survey (administered 32 times since 1972) monitors trends in American society that lends insightful knowledge to current behaviors, attitudes, and attributes that can then be applied to arts and culture.
7
of inclusion and participation in the performances.” Audiences enjoy classical concerts
significantly more when they hold an “understanding of the events and develop a valued sense of
performer–audience rapport.”19 (These comments echo Bergauer’s Orchestra X experiment.)
Dobson’s research was conducted using large classical music organizations such as the London
Symphony Orchestra, the Orchestra of the Age of Enlightenment, and the London Chamber
Orchestra. Dobson’s research suggests the importance of creating deep connections between
organization and audience.
Sarah M. Price’s research Risk and Reward in Classical Music Concert Attendance
suggests that Classical Music consumers base their decision to attend a classical concert on an
“effort-risk-reward” framework. The amount of effort it will take to get to the concert is weighed
against the emotional reward of attending the concert. This study reports that audience members
cannot enjoy the performance if they are too worried about the “right” and “wrong” ways to act
at such an event. Price’s overall findings suggest that concerts in less formal atmospheres and
venues would increase the art forms’ engagement and prove beneficial in retaining attending
audiences.20
The Sheffield Performer and Audience Research Center (SPARC) in the United Kingdom
is dedicated to studying audiences and performers of fine arts organizations. Since its founding
in 2010, many publications and research studies have been conducted with Birmingham
Contemporary Music Group, Buxton Festival, CAST, Doncaster, City of Birmingham Symphony
Orchestra (CBSO), Classical Sheffield, Contemporary Music-Making for Amateurs (CoMA),
19 Dobson, Melissa. “New Audiences for Classical Music: The Experiences of Non-Attenders at Live Orchestral Concerts.” Taylor & Francis, Journal of New Music Research, 22 July 2010, www.tandfonline.com/doi/abs/10.1080/09298215.2010.489643. 20 Price, Sarah M. “Risk and Reward in Classical Music Concert Attendance: Investigating the Engagement of 'Art' and 'Entertainment' Audiences with a Regional Symphony Orchestra in the UK.” White Rose ETheses Online, University of Sheffield, 1 Mar. 2017, accessed July 12, 2019, etheses.whiterose.ac.uk/16628/.
8
Derbyshire County Council, Edinburgh Jazz and Blues Festival, the Firebird Trust, the London
Chamber Orchestra, Making Music, Music in the Round, Orchestra of the Age of Enlightenment,
Sheffield City Council, and the Spin Jazz Club, Oxford.21 SPARC produces many valuable
studies that offer a variety of new information about performing arts organizations. However,
European organizations are the focus of their research.
Back in the United States, The National Endowment for the Arts has conducted research
on audience engagement as recently as 2012 with How a Nation Engages with Art: Highlights
from the 2012 Survey of Public Participation in the Arts.22 The disciplines explored are arts
consumption through: electronic media, movie-going, voluntary reading, art-making or art-
sharing, visual or performing arts attendance, and arts learning through classes or lessons. There
is not a specific focus on small performing arts organizations.
Another study conducted by The League of American Orchestras was Culture Track
2011, an ongoing national research study of the attitudes and behaviors of cultural audiences.23 It
examined trends in attendance at visual and performing arts events and the motivators and
barriers that affect participation.
Engaging College Students in Classical Music project, which was funded by the Andrew
W. Mellon Foundation, highlights exemplary practices in student engagement, and explores
ticketing, marketing, and programming strategies with focus on the many barriers that stand
between college students and a deeper relationship with classical music.
21 “About” Sheffeild Performer and Audience Research Centre. Accessed 4 May, 2019, www.sparc.dept.shef.ac.uk/about/. 22 “How a Nation Engages with Art: Highlights from the 2012 Survey of Public Participation in the Arts (SPPA),” National Endowment for the Arts (Office of Research & Analysis, January 12, 2017), https://www.arts.gov/publications/how-nation-engages-art-highlights-2012-survey-public-participation-arts-sppa. 23 LaPlaca Cohen, “Culture Track 2011 Presentation - April 15, 2011,” Vimeo, January 18, 2020, https://vimeo.com/23213599.
9
Wolf Brown’s Ticket Buyer Segmentation Study (Philadelphia Orchestra) examines
patrons’ music and concert expectations and preferences by dividing the audience into
“meaningful attitudinal segments.” Again, the ensemble studied was a large organization that
represents the city of Philadelphia’s art and culture scene.
Findings from the New World Symphony project studied the audiences’ depth of
experience and watched their ticket buying patterns to find new ways of engaging audiences for
the benefit of the listeners themselves and to provide more stability for the art form. The New
World Symphony is a large organization with a multi-million dollar budget. The data might not
be applicable to smaller organizations.
The Audience Motivation Research Project by the American Symphony Orchestra
League, uses a behavioral segmentation data collection model and analysis that is a form of
customer segmentation based on patterns of behavior displayed by customers as they interact
with companies or make a purchasing decision.24 The League’s study reported many of the
underlying audience needs and motivations for attending classical concerts. For example:
“Creature comforts, including the comfort of the hall and desirability of the seat, were actually
more important than the soloist and the conductor.” Audience research is proving to be an
important tool for classical music organizations through the insights and guidance it can provide
to the work of cultivating, growing, and sustaining arts organizations.
Many of these research studies have given insight into audiences of Classical Music
consumers and their experiences in concert hall settings. While some gave specific focus on
audience experience, others analyze the audience's perception of Classical Music performance.
24 DeAsi, Gary. “10 Powerful Behavioral Segmentation Methods to Understand Customers.” Pointillist, 14 Mar. 2019, Accessed 30 July, 2019. www.pointillist.com/blog/behavioral-segmentation/.
10
Some focus on the broad range of fine arts in a more general sense. Each research project
encountered thus far has explored data collection for Classical Music organizations with multi-
million dollar budgets. (The overall cost of running an orchestra in a major city in the United
States may exceed $20 million annually.25) These studies often ignore small niche organizations
who operate on annual budgets of less than $300,000.
The significance of this research project lies in the fact that there is no known research
either into audiences of Early Music or specifically into the audiences of small ensembles.
According to Guidestar reports, there is only one Early Music organization in Texas with an
operating budget that exceeds one million dollars. Surveying Early Music consumers in Texas
could advance Early Music organizations by discerning how small ensembles can optimally
satisfy their consumers' needs.
Data available in existing large-organizational studies clarifies the importance of creating
intimate and personalized experiences for audience members. However, the motivations of
people who attend the performances of smaller ensembles are left unstudied. No data appear to
exist that explain, for example, whether the more intimate and personal nature of small ensemble
performances is the primary driver of audience attendance, or one of several factors, and if so,
what other factors exist and how they rank. Only a study focused on smaller organizations can
provide specific insight into these audiences. Furthermore, other small organizations not
specifically dedicated to Early Music may apply the guidance derived from the results of the
survey analysis to reach their own audiences more effectively and successfully. Those not
directly involved in this study may have access to the survey model designed for this paper.
25Dr. Zannie Giraud Voss et al., “Orchestra Facts: 2006-2014 A Study of Orchestra Finances and Operations, Commissioned by the League of American Orchestras,” League of American Orchestras, November 2016, p. 6, https://doi.org/10.1093/gmo/9781561592630.article.00790.
11
Additionally, they may uncover and identify critical areas in their audience relationships that
they may not have explored otherwise.
12
CHAPTER 3
METHODOLOGY
The research question proposed in this project was explored by means of four study
objectives: (1.) discussion of the most recent classical music audience data, (2) creation of an
online survey to gather data to be analyzed using the SPSS program to calculate frequency,
correlation, regression,26 and variation analysis (anova) models,27 (3.) presentation and
explanation of the audience survey and its findings, and (4.) creation of a matrix that visually
explains the factors concerning audience enthusiasm and price sensitivity and the interaction
between the two.
3.1 Selection Process of Participating Organizations
Survey participants were audience members of currently active Early Music
organizations. A total of sixteen Early Music organizations, located in three major Texas cities
(Houston, Austin, and Dallas) were invited to participate. Of the sixteen, ten ensembles agreed to
assist in survey distribution through newsletter subscriber email lists and social media outlets.
Table 3.1: Participating Early Music Organizations in Texas
Dallas Houston Austin Denton Bach Society Lumedia Musicworks Orchestra of New Spain
Ars Lyrica Houston Houston Early Music Les Touches Consort La Speranza
Austin Baroque Orchestra Austin Troubadours Texas Early Music Project
Early Music consumers were contacted through these organizations by means of an email
newsletter. All ten participating organizations function on annual operating budgets less than
26 “Regression [analysis] allows you to confidently determine which factors matter most, which factors can be ignored, and how these factors influence each other.” Source: https://www.surveygizmo.com/resources/blog/regression-analysis/. 27 “Analysis of variance (ANOVA) is used to determine whether there are any statistically significant differences between the means of three or more independent (unrelated) groups.” Source: https://statistics.laerd.com/statistical-guides/one-way-anova-statistical-guide.php.
13
$720,000, most under $300,000.
3.2 Designing a Qualitative and Quantitative Questionnaire
The survey construction and entire analysis was supervised by Dr. Audhesh Paswan,28
the Associate Dean at the G. Brint Ryan College of Business at the University of North Texas. A
word association test was recommended, as it reveals the feelings and associations from the
structure of an individual’s situational, working memory.29 The test was performed using two
stimulus words: “Classical Music” and “Early Music.” An undergraduate class of music students
from the University of North Texas was asked to write down the first 5-10 words that came to
mind when they heard the term “Early Music.” A second class was asked about “Classical
Music.” A combined total of 621word association responses was collected for the word
association study.
The most popular associations for “Classical Music” were the ensemble labels: Symphony
and Orchestra; the composers: Mozart, Brahms, and Bach; the specific instruments: Violin and
Piano; the descriptive terms: Boring and Old; and the performance venue: Concert Hall. (See
Figure 3.1).
28 Audhesh Paswan received his Ph.D. from the University of Mississippi, USA, an MBA from the Indian Institute of Management, Ahmedabad, and a B.Tech. (Aeronautics) from the Indian Institute of Technology, Madras. Before coming into academia, he worked in the advertising and consumer product industry as the Account Manager and Planner, and Brand Manager. His research interests include franchising, channels, strategy, NPD, macromarketing, service marketing, cross-cultural and global marketing. His work appears in the Journal of the Marketing, Decision Science Journal, Journal of Retailing, Journal of International Marketing, European Journal of Marketing, Journal of Business Research, Journal of Public Policy and Marketing, Industrial Marketing Management, Journal of Macromarketing, Journal of Services Marketing, Journal of Current Issues & Research in Advertising, the Journal of Marketing Theory & Practice, Journal of Business and Industrial Marketing, Journal of Brand Management, Journal of Consumer Marketing, Journal of Product and Brand Management, and Journal of Marketing Education among others. 29 Nielsen, Marianne Lykke, and Peter Ingwersen. “The Word Association Methodology: a Gateway to Work-Task Based Retrieval.” The Word Association Methodology | Proceedings of the 1999 International Conference on Final Mira, 1 Apr. 1999, Accessed Feb. 4, 2020. dl.acm.org/citation.cfm?id=2228065.2228071.
14
Figure 3.1: Classical Music Word Association Word Cloud30
The most popular word associations for “Early Music” were religious/sacred focused
with Church, Mass, Chant, and Gregorian Chant; the composers: Hildegard von Bingen, Bach,
and Mozart; the specific instruments: Harpsichord; the historical periods: Baroque, and
Renaissance; the ensemble types: Consort, and Choir; and the descriptive terms: Boring, Old,
and Simple (See Figure 3.2).
Figure 3.2: Early Music Word Association Word Cloud
30 The more times a word appears in the collected word association data, the bigger and bolder it appears in the word cloud.
15
The word association assisted with the terminology used to create the survey. It also
offers insight into a population who has a relationship and knowledge of classical music, and the
differences and possible confusion between the broader all encompassing term of “Classical
Music,” and the more specific yet less widely known genre of “Early Music.”
3.3 Distribution and Collection of Data
The survey was hosted on the Qualtrics platform, approved by the University of North
Texas IRB Human Subjects Application # IRB-19-667, and compatible with both desktop and
mobile devices. Each organization had its own unique survey link. The survey was completely
anonymous and IP addresses were not collected. No incentive was offered for respondents to
participate. Each ensemble was instructed to send an invitational newsletter to subscribers for
participation. Included in the email was a one-minute personal video by the author of this report,
explaining the project, the positive impact one can have by participating in the survey, and
encouraging their participation. The survey was open for participation from January 2 through
January 15, 2020. A total of 6,404 respondents were emailed an invitation to participate in the
survey. A total of 2,738 people opened the email, 556 clicked on the survey link, and 421
participated. The survey collected psychographic, demographic, and behavioral aspects of Early
Music consumers in Texas.
16
CHAPTER 4
TEXAS EARLY MUSIC CONSUMER PROFILE
The distribution of participants by city across Texas is as follows: 37 percent reported
Austin, 34 percent reported Dallas, 17 percent reported Houston, and 11.5 percent hailed from
“Other” cities31 (see Figure 4.1).
Figure 4.1: Early Music Consumer Participant Distribution by City
4.1 Early Music Consumer Demographics
The majority of Early Music consumers come from older age categories. 74.5 percent of
Early Music consumers are over 50 years of age. Those ages 56 or older make up 49.3 percent,
and most of those are over 60. See Figure 4.2.
31 3.5 percent for San Antonio, and 8 percent from other small cities.
17
Figure 4.2: Early Music Consumer Age Demographics
In terms of employment, 27.6 percent of Early Music consumers are either retired or do
not work, while 29.3 percent work full-time. Those who work part-time make up 11.3 percent,
and 3.6 percent own their own businesses. The relatively high number of people who are not in
the workforce is probably related to the age factors discussed above.
Early Music consumers tend to be much more well-educated than the general population.
94.4 percent have completed some college, and 58.6 percent of those have post-graduate degrees
(by comparison, the overall statistics for Texas in 2018 showed 58.9 of Texans had college or 2-
year associate degree, another 19.6 percent had BAs, and only 10.7 percent had postgraduate
degrees).32
Slightly fewer than half, or 47.2 percent, of Early Music consumers do not have children,
32 Erin Duffin, “Texas: Educational Attainment of Population 2018,” Statista, September 26, 2019, https://www.statista.com/statistics/306995/educational-attainment-texas/.
18
and slightly more than half, or 52.8 percent, do have children (see Figure 4.3).
Figure 4.3: Early Music Consumer Demographics
Some Early Music consumers in Texas fall into lower income brackets. Most are
relatively evenly distributed across middle and higher income brackets, but slightly skewed
towards the upper income levels. The middle income bracket of $40,000 - $100,000 reflects 40.2
percent of Texas Early Music consumers. 44.2 percent fall into the higher income brackets of
$100,000 or more with roughly half of those earning in excess of $160,000 per year. Those with
a household income of $160,000 or more are in the top 15 percent of household income for all
Americans per 2018 census data.33 Therefore, Early Music draws a higher relative percentage of
the highest income brackets than would be representative of the general population.
Approximately 30 percent of Early Music consumers incomes fall below the median Texas
income of $60,629 (see Figure C.1).
33 “Texas,” Data USA - Texas, accessed March 19, 2020, https://datausa.io/profile/geo/texas.
19
4.2 Early Music Consumer Attendance Trends
Participants were asked how frequently they attend concerts for Early Music, Classical
Music, Opera, and Jazz musical genres. The highest level of response was “five or more times.”
Of all respondents, 34.3 percent reported they attend Early Music concerts five or more times a
year; 29.9 percent reported they attend Classical Music concerts five or more times per year;
11.6 percent said they frequented the Opera five or more times per year; and 4.2 percent attend
Jazz performances five or more times each year (see Figure 4.4).
Figure 4.4: Early Music Consumer Attendance Trends of 2019.
When asked their favorite genre of performance 47 percent responded with Early Music,
followed by 27 percent for Classical Music, 12 percent for Opera performance, and 4 percent
preferred Jazz performances the most (see Figure 4.5). “Other Genre” accounted for 9 percent
and included many interesting responses.34
34 Grouping “Other” responses into similar categories, Early Music consumers reported other favorite genres to include Celtic/Folk (.82 percent), Pop/Rock/Classic Rock/Indie (2.05 percent), Musical Theater (.82 percent), Ballet/Dance (.62 percent), Choral (.41 percent), and “Old Hippie Cosmic Cowboy”(.21 percent).
20
Figure 4.5: Favorite Genre of Performance
4.3 The Concert Venue
Historically, musical ensembles typically performed in smaller spaces for a number of
reasons, one of which is that concert hall spaces did not exist, with the exception of the major
opera houses in big cities.35 The earliest public performances, meaning a performance that could
be obtained by anyone, with the payment of an admission, date back to London in the 1670s.36
However, these performances did not take place in large-scale venues like the modern day
performance hall. They were held in private homes, concert rooms, taverns, and the most
fashionable venues at the time: gardens.37
Today, Early Music concert venue choices vary in physical location and ambiance in
35Scott, Hugh Arthur. “London's Earliest Public Concerts.” The Musical Quarterly, vol. 22, no. 4, 1936, pp. 446–457. JSTOR, www.jstor.org/sTable/738953. Accessed 3 March 2020. 36 Anonymous. “Musical Performance from the 1670s to the Present Day.”, Victoria and Albert Museum, South Kensington, London , 31 Jan. 2013, Accessed March 3 2020. www.vam.ac.uk/content/articles/m/musical-performance-from-the-1670s-to-the-present-day/. 37 Anonymous, “Musical Performance from the 1670s to the Present Day,” Musical performance from the 1670s to the present day (Victoria and Albert Museum, South Kensington, London , January 31, 2013), http://www.vam.ac.uk/content/articles/m/musical-performance-from-the-1670s-to-the-present-day/.
21
venues like churches, art galleries, private homes, cafés, bars, libraries, museums, castles, caves,
and of course concert halls. Early Music organizations' small venue choices are unique and
separate them from the associated prestige that comes from booking performances in large well-
known concert halls. These smaller venues lack formal concert hall amenities like a backstage
area, dressing rooms, and green rooms, leaving members of Early Music ensembles and their
audiences opportunities to mingle at intermission, post-concert, share food and drinks together at
a reception, and even exchange in conversation in the restroom.
The Classical Consumer Segmentation Study conducted in 2002 reported that
“Consumers experience live classical music concerts in a range of formal and informal
venues.”38 The findings of our study are highly similar to those of the 2002 report. Attendance
was reported in concert halls, churchs, outdoor venues, and private residences. However, when
asked about their preferences, Early Music consumers reported in a markedly more limited
range. Churches and concert halls lead by substantial margins, although those vary by age group.
Their third preference is tied between private homes and art galleries. Fifth choice is the café/bar
venue. Community centers and other unspecified venues are the least popular.
The study’s findings show that concert venue preferences vary by the age of the
respondent (see Table 4.1). Although there are alternative venues that have been sampled across
all age groups, there is the overwhelming preference of the church venue and concert hall. Of
those, the concert hall is preferred except by the older population who prefer the church venue
for performances. Of those 56 and older, 53.6 percent preferred churches, while 31.4 percent
38 Alan S. Brown et al., “Classical Music Consumer Segmentation Study : Final Report : How Americans Relate to Classical Music and Their Local Orchestras : Commissioned by the John S. and James L. Knight Foundation and 15 American Orchestras.,” Knight Foundation (John S and James L. Knight Foundation, March 12, 2019), https://www.esm.rochester.edu/iml/prjc/poly/wp-content/uploads/2012/04/2002_Classical_Music_Consumer_Report.pdf.
22
preferred concert halls; almost the inverse of the preferences of other age groups. Far less
popular as Early Music venues are private homes, cafés/bars, and the rest of the range of
possibilities (see Figure 4.6).
Table 4.1: Early Music Consumer Age with Venue Preference
Figure 4.6: Venue Preference: Concert Hall vs. Church by Age Group
4.4 Advertisements Trends
When Early Music consumers were asked to indicate all the ways they “typically hear
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about concerts," 61 percent of people mentioned subscribed mailing lists, word-of-mouth and
social media were noted by 40 percent, and radio advertisements by 27 percent (see Figure 4.7).
Figure 4.7: How Early Music Organizations are Advertising
Survey takers were then asked to rank the ways in which they prefer to be informed about
concerts. The results mirrored the previous question with the most popular response being
subscribed mailing lists. Tied for second place were social media and word-of-mouth. The third
most popular was radio advertisements, with the fourth being newspapers and magazines. See
Figure 4.8.
Figure 4.8: Early Music Consumers Preferred Methods of Advertisement39
39As shown in Table 4.1, respondents were asked to force-rank their preferences for various venue alternatives.
24
4.5 Psychographics
Psychographics define “why” the Early Music consumer attends performances of this
music. In order to reach a targeted audience we must understand not only the demographic
information, but the consumer’s values, spending habits, hobbies, and personalities. The
following sections will describe the analyzed data and create a detailed description of Early
Music consumers who have attended Early Music concerts in the last 12 months. Additionally
these descriptions could assist in the identification of potential future Early Music consumers.
4.5.1 How Early Music Consumers See Themselves
A factor analysis was conducted on psychographic questions that analyzed how Early
Music consumers see themselves (see Table C.1).
The survey conducted for this study found a high tendency among Early Music
consumers to be musically active. This includes singing, or playing musical instruments,
including involvement in ensembles, choirs or instrumental groups, and having studied music
seriously in school.
In their concert-going experience, Early Music consumers like printed translated librettos,
and to read concert notes. Printed tangible items that accompany the performance are important
to the consumer. Digital programs that could be accessed by one’s mobile phone, iPad, or a
similar device might not be well received by audiences who are used to printed programs at this
time.
Early Music consumers prefer to be casual and hate “dressing up” for performances,
although the survey did not specifically define what constitutes as “casual,” and “dressing up.”
Some socioeconomic groups consider themselves to be casual in clothing that others feel is
dressy. Similarly, Early Music consumers are not comfortable with what they perceive to be
25
“concert etiquette.” The concept of “concert etiquette” was outside the scope of this paper, but
taking all of this data together, it is quite clear that Early Music consumers tend to dislike stuffy
concert environments.
Early Music consumers view themselves as opinion leaders among friends. They make
personal invitations for others to join them in attending Early Music concerts. They also tell
others about the concerts they have attended.
Early Music consumers are interested in the expert opinions of critics and reviewers.
They read concert reviews, which are important to them when deciding to attend a performance.
4.5.2 Reasons for Attending Early Music Concerts
A factor analysis was conducted on psychographic questions that analyzed why Early
Music consumers attend Early Music concerts. The following information is the overall Texas
Early Music consumers’ reasons for attending. In summary, there are five motivating factors:
spiritual, social, convenience, emotional, and the concert environment (see Table C.2).
The sample population reported they attend/listen to Early Music concerts because of
“spiritual” and “emotional” reasons such as:
• Early Music performances reduce stress.
• Early Music performances make listeners feel less depressed.
• The music helps listeners forget about their problems.
• It is inspiring.
• The concert experience is “spiritual.”
• The music is “uplifting.”
• Listeners simply like the music.
Early music consumers also find the music to be “exciting."
26
Early Music consumers attend concerts for “social” reasons. They attend because their
friends do. “Personal invitations by friends” and expectations within their “friend/social circle,"
as well as personal relationships with the performers are attendance motivators. Early Music
consumers also attend because they like meeting new people. They enjoy post-concert receptions
and other social aspects that take place at a concert.
In the broad sample population, the data suggest that “convenience” reasons for concert
venues motivate concert attendance, especially if the location is near home. Early Music
consumers hold positive feelings about the venue itself as well as the parking situation.
Additionally, discounted or free performance tickets also make a convenient reason to attend.
4.5.3 Correlations: A Discussion
Correlations were identified between the two sets of variables, Reasons for Attending,
and Self-Assessment, by using correlation analysis. (All the values reported in this section are
pearson correlation with a p value of less than .05.) Correlation analysis allows for an
understanding of association between variables (Table 4.2).
Table 4.2: Correlations: Reasons for Attending, Self-Assessment, Ticket Price40
** p value is .01 significance (or 99% confidence level). * p value is .05 significance level (or 95% confidence level)
• Spiritual Correlations
40 p values are calculated by the SPSS computer program.
27
“Spiritual” correlates with “Emotional (.622)," “Concert Environment (.302),” and
“Opinion Leaders (.321).” In other words, attending Early Music concerts is a way to forget
problems and relieve stress. The concerts are healing experiences that uplift, and make attendees
less depressed. They do not seek out concert reviews, nor are those reviews important when
deciding to attend a concert. However, they invite others to join them in attending a concert, and
speak about the performances they attend. The concert environment is important. “Musically
Active” and ticket prices (Q17, Q21) are not associated with “Spiritual” meaning they are not
musically active and ticket prices are not important when deciding to attend. “Spiritual” holds an
inverse correlation with “Early Music Elitist (-.157)” which means they do not believe the Early
Music genre to be elitist.
• Social Correlations
“Social” reasons correlate with “Musically Active (.447),” “Convenience (.547),” and
“Opinion Leader” (.351).” In other words, those who attend for “Social” reasons are musically
active, and attend because of the convenience of ticket discounts, venue location, and parking.
They are not afraid to speak their mind about the performances and tend to invite others to join
them for a concert.
• Convenience Correlations
Those who attend Early Music concerts for “Convenience” reasons correlate with
“Musically Active (.286),” “Social (.547),” and fair ticket price. In other words, they are
musically active individuals who attend because it is expected in their social circle.
“Convenience” reason attenders do not want to pay much for tickets.
• Emotional Correlations
28
Those who attend Early Music concerts for “Emotional” reasons correlate with “Spiritual
(.622)” reasons, “Concert Environment (.291),” “Tangible Cue (.290),” and “Opinion Leader
(.369).” There is an inverse correlation with “Early Music Elitist (-.345)” and no correlation with
either current or fair ticket price. In other words, those who attend concerts for “Emotional”
reasons find Early Music concerts an uplifting and healing experience. The concert environment
is important to them, as are printed concert materials. They invite their friends to attend with
them, and talk about the performances they have been to, whether good or bad. They find Early
Music to be for everyone and ticket price is not an important factor when deciding to attend.
4.6 Ticket Price
According to Statista, a marketing and consumer data firm, the worldwide average cost of
a concert ticket is 96.17 U.S. dollars to see a live artist on a concert tour.41 Gig-based tickets, or
tickets sold for concert programs that maintain a shorter performance lifespan than a tour, such as
classical concerts, have a world wide average ticket price of 78 U.S dollars.42
The data collected for this report suggests a much lower rounded-average price of $32 per
person to attend Early Music performances in Texas. This is very close to the $31.50 rounded-
average response by the sample population when asked to state a “fair” price to attend Early
Music performances.
The data contains more detailed information about pricing than the mean (average) price
and value perceptions. When viewed in terms of tickets purchased at the various reported price
levels, the median, or mathematical center point for the price for Texas Early Music concerts
41Amy Watson, “Average Concert Ticket Price,” Statista, December 16, 2019, https://www.statista.com/statistics/380106/global-average-music-tour-ticket-price/. 42Amy Watson, “Average Concert Ticket Price,” Statista, December 16, 2019, https://www.statista.com/statistics/380106/global-average-music-tour-ticket-price/.
29
tickets sold is approximately $29, meaning 50 percent of Early Music consumers pay that price
or less, and 50 percent pay more. The question is, how much more or less did the respondents
report having paid? The answer becomes more clear if we divide reported ticket sales into four
quartiles, again according to the numbers of tickets sold at various prices. The bottom quartile, or
25 percent, of tickets sold went for less than $23 (the study does not show whether these were
sold at face value or subject to some sort of discount). The second quartile of tickets sold for
between $23 and $28. The third quartile of tickets sold for between $29 and $35. In other words,
half of the Early Music concert tickets (those in the second and third quartiles), sold for between
$23 and $35. The top quartile of tickets sold for more than $35, with the majority having been in
the $40 to $50 range.
When asked “what is a fair ticket price,” Early Music consumers reported a median ticket
price of $27. On either side of the median, 25 percent perceived paying $20 to $27 for a ticket
was a fair price, and 25 percent perceived that tickets costing between $27 to $35 were fairly
priced. This closely corresponds to the actual prices that the sample group reported having paid.
Another 25 percent of the sample group believed that higher prices than these were fair; again
were consistent with actual reported prices. Finally, in terms both of prices paid and perceptions
of fairness of price, 25 percent of the sample population reported that they paid lower prices and
believed that lower prices are fair.
In our sample of the Early Music consumers who attended concerts in 2019 (Table 4.2),
an inverse correlation is observed between fair ticket price (Q21) and “Convenience (-.129),”
“Musically Activity (-0.188),” and “Formality (-0.108).” In other words, the respondents for
whom the convenience of the venue is important want to pay less for tickets. Similarly, the
30
respondents for whom “Formality” is important and who have been “Musically Active,” do not
want to pay a high ticket price.
4.6.1 Multilevel Analysis of Ticket Price
To further examine the factors that affect ticket price and the perception of fair value for
tickets, a multivariate regression test was performed to investigate if current price and fair-price
tickets are influenced by specific and/or multiple factors beyond those noted above. Ticket price
questions Q21(fair price) and Q17(current price) were run in three successively more
comprehensive models, each adding additional factors to the analysis to compare for changes.
The models included demographics, self-assessment psychographics, and reasons for attending
psychographics (see Table 4.3 and Figure 4.9).
• First Model Findings
o The only demographic variable that influences fair ticket prices is household income (higher-income households rate fair ticket prices higher than do lower income households).
o Education is not a significant factor in perception of fair ticket price.
• Second model findings (added self-assessment psychographics):
o Those who are musically active want to pay less for tickets. People who do not like formality do not want to pay much for tickets.
o Education is still not a significant factor.
• Third model findings (added the psychographics of the reasons for attending):
o Household income is still significant.
o People who attend for social reasons tend to place higher values on tickets.
o Those who are more musically active still want to pay less for concert tickets.
o Those who place a high value on factors of convenience tend to place lower perceived value on ticket prices.
31
Table 4.3: Multilevel Analysis - Ticket Price
Figure 4.9: Ticket Price by City
32
4.6.2 Ticket Price by City: Dallas, Austin, Houston
A one-way analysis of variance (ANOVA) was applied to ticket price data and
geographic location to show the differences between each city's ticket price trends (see Table
C.3).
Dallas’ current average ticket price is $31.30, the lowest current average ticket price of
the three major Texas cities. Austin’s average price is $32 and Houston has the highest ticket
price of $41.27.
Figure 4.10 shows the discussed differences in psychographics between cities. The dots
are placed above the city to which they pertain. The colored lines that travel horizontally visually
represent the variance of Reasons for Attending between geographic location.
Figure 4.10: Psychographics by City: Reasons for Attending
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Regardless of which city you are near, the most important factors that point to loyal Early
Music consumer attendance are “Spiritual” and “Emotional” reasons, as well as the importance
of the “Concert Environment” (see Table C.4).
Austin has the most “Emotional” audiences, followed respectively by Houston and
Dallas. Austin also has the most audience members who attend for “Spiritual” reasons, followed
by Dallas and Houston respectively. Austin and Dallas audiences show the highest numbers for
“Concert Environment.” Houston audiences do not feel as strongly about the “Concert
Environment.” “Social” reasons rank fourth with Dallas audiences. In contrast with Dallas,
Austin’s audiences are less motivated to attend concerts for “Social” reasons. Finally,
“Convenience” reasons for attending is not a motivating factor. However, Dallas audiences are
more attuned to “Convenience” reasons than Houston or Austin audiences.
Figure 4.11 is a visual representation of the psychographics of Self-Assessment by city.
The Self- Assessment categories are interesting to examine. Concertgoers in all the sample cities
perceive the “Tangible Cue,” or tangible materials (programs; libretto translations) offered at
concerts to be important.
The “Opinion Leader” ranked highest in Dallas. Dallas audiences tend to talk about the
performances they attend. They share their opinions about concerts, whether good or bad, with
their friends. They are more likely to invite others to attend concerts with them than do Houston
or Austin concertgoers.
Dallas contains the highest population of those who self-identify as “Musically Active.”
Austin has the fewest “Musically Active” concertgoers. Those who attend Early Music concerts
in Houston are the most keen to read concert reviews and base their attendance on the thoughts
of critics. Dallas Early Music consumers value the opinions of concert critics as well, while those
34
in Austin have reported concert reviews being less important.
Figure 4.11: Psychographics by City: Self-Assessment
Austinites do not like concert formalities such as dressing up to attend an Early Music
concert. “Concert etiquette” makes them feel uncomfortable. Houston has more desire for
concert etiquette, while Dallas Early Music consumers are in the middle.
The lowest self-assessment factor is the approachability of the Early Music genre. Of
Early Music consumers in Texas, Austin Early Music consumers reported Early Music is not an
elitist genre. Houston and Dallas Early Music consumers hold Early Music to be an elitist genre.
The category “Other cities” is interesting to examine on these two charts. The data shows
that survey participants who checked the “Other cities” category are individuals who are not
musically active. They view themselves as opinion leaders. They invite others to come to
35
concerts and tell others about the concerts they have seen. They like concert etiquette and do not
think Early Music concerts are elitist
36
CHAPTER 5
CONCLUSION
This study is based on a valid statistical survey of the Early Music concert-going public
in 3 Texas cities that was conducted between January 2 and January 15, 2020. The results were
analyzed using the SPSS software program. Significant factors were identified in two primary
areas: audience characteristics, and ticket pricing practices. I have summarized the most
important information on audience characteristics into the following matrix (see Figure 5.1).
Figure 5.1: Audience Enthusiasm - Price Sensitivity Matrix
5.1 Audience Enthusiasm - Price Sensitivity Matrix
The matrix organizes on two axes the most significant factors concerning enthusiasm for
Early Music, and sensitivity to ticket prices that were uncovered by the research underlying this
paper. The horizontal axis arranges in order of significance from left to right the factors that
37
influence consumer enthusiasm for attending Early Music concerts. The vertical axis arranges
the factors according to their influences on ticket price sensitivity:
• A belief that the Early Music art form is elitist correlates with less enthusiasm about
attending concerts, and a tendency towards high sensitivity to ticket prices. This characteristic
occupies the lower left-hand corner.
• Negative views regarding concert formalities tend to make consumers less
enthusiastic about concerts, but do not have a measurable impact on ticket price sensitivity.
Convenience of attendance adds moderately to enthusiasm while at the same time increasing
ticket-price sensitivity.
• As shown in the center of the matrix, social reasons for attendance add moderately to
enthusiasm and are neutral in terms of price sensitivity.
• This study found that the characteristic of Thought Followership (a tendency to value
opinions of reviewers) tends to increase the level of enthusiasm, but to have a neutral effect with
regard to price sensitivity.
• Concert environment is also listed in the center box because it was found to have a
moderate effect on enthusiasm for concerts and a neutral effect on price sensitivity.
• Household income is placed at the top of the center column because the study found
that higher household incomes result in lower ticket price sensitivity but that this factor has little
or no influence on enthusiasm.
• Self-identification as “Musically Active” is in the bottom right-hand box because the
study found this characteristic consistent with high levels of enthusiasm for concert-going, and
also with price sensitivity.
38
• In the middle right box are the three factors of “age,” “opinion leadership,” and
“education,” because the study’s findings show clearly that older and more well-educated people,
who like to be in positions of opinion leadership with their views of music, are highly
enthusiastic about concert attendance while remaining neutral to price sensitivity.
• Concert Materials round out the middle right box. A preference for tangible materials
such as printed programs and translated librettos is strongly associated with enthusiasm for Early
Music, but that characteristic does not seem to influence ticket price sensitivity.
• Finally, the upper right box lists the characteristics of people who comprise the “gold
standard” of Early Music concertgoers (highly enthusiastic, price-insensitive ticket buyers).
People with these characteristics cite emotional and spiritual reasons for attending Early Music
concerts.
Ticket pricing was studied separately from factors that might make concertgoers more or
less price sensitive. In sum, the study found that in 2020, roughly 25 percent of the Early Music
concert-going public is paying single-ticket prices of between $23 and $35, and another 25
percent paying more than that. The data also showed that the public considers these prices to be
fair.
5.2 Summation
In addition to the key factors discussed above, this study has revealed some unique
details that differ from the larger and more general studies done in the past. The word association
study shows that the public does not clearly delineate between the terms “Classical Music,” and
“Early Music.” Therefore, concert marketing and grant writing should be done in a way that
clearly describes and promotes “Early Music” as a unique art form and experience.
The psychographic analysis shows characteristics that might be found in the best
39
customers. This is useful in directing how marketing and advertising dollars can be used to
attract people who are enthusiastic and the least price sensitive. The demographics show a
dramatic skew towards older, more affluent, more highly educated customers.
The clear choice for venue preferences are churches and concert halls. However,
additional research is needed to better understand the asymmetric age distribution. Are we seeing
a generational shift? Or is this strong preference simply because churches and concert halls are
the most familiar venues? Does smaller venue choice affect attendance enthusiasm? This data
needs closer examination than the scope of this paper permitted. Therefore, efforts should be
made to use such venues. However, careful exploration outside of these popular venues could
still prove successful concert settings.
For advertising of events, the survey shows that the best use of money is in the
development of subscriber mailing lists, and to strengthen word-of-mouth and social media
efforts. Outreach marketing strategies can be used to attract other demographics if funds permit.
However, basic marketing should be planned to capture the increasing Baby Boomer
population43 with their needs44 in mind. If Early Music organizations provide a sense of social
belonging to those audience members with significant lifestyle changes, this may have a positive
direct impact on revenue and donations, while at the same time decrease overall stress and
43 The United States has entered a period of rapid aging of its workforce due to the retirement of Baby Boomers that began around 2010 and is expected to wind down by 2030. See source information here:“Texas Population Projections 2010 to 2050”. Texas Demographic Center, University of Texas, San Antonio Office. January 2019. https://demographics.texas.gov/Resources/publications/2019/20190128_PopProjectionsBrief.pdf 44 The retired Baby Boomer population partake in leisurely activities that promote health and well-being. According to the 2016 study Leisure in Retirement: Beyond the Bucket List conducted by consulting group Age Wave and Merrill Lynch Global Wealth Management, “Retirees are expected to donate about $6.6 trillion in cash and $1.4 trillion in volunteer services during the next 20 years as baby boomers retire.” See source information here: “Leisure in Retirement: Beyond the Bucket List.” Age Wave, Merrill Lynch Bank of American Corporation, 2016, agewave.com/wp-content/uploads/2016/05/2016-Leisure-in-Retirement_Beyond-the-Bucket-List.pdf. Accessed 8 Mar. 2020.
40
increase life expectancy of patrons.45 Events can be held that develop social relationships with
audiences, such as monthly happy hours, pre-concert and post-concert receptions, pre-concert
meet the artists, educational videos, sing-a-longs, to name a few.
The ticket pricing analysis must be researched and customized for each ensemble. Mean
and median ticket prices are not accurate guides for pricing. Ensembles must research other
ensembles in their area to learn which organizations are commanding the highest ticket prices,
uncover what those ticket prices encompass, and imitate that model on their own scale. For
example, seat differentiation may prove to be important; $75 for prime seats and reception, $30
for ordinary seats and no reception and so forth. Ticket selling strategies have been around since
the first ticketed performances. A discounting strategy is important, too. Some people may pay
$40 for seats next to people who pay $25.46 For example, The ticket model for first performance
of Handel’s Messiah in Dublin was, “No person will be admitted to the Rehearsal without a
Rehearsal Ticket, which will be given gratis with the Ticket for the Performance when pay’d
for.”47
Finally, when compared with the three major Texas cities in this study, the “Emotional,”
“Spiritual,” and “Concert Environment” reasons for attending psychographic data in “Other
Cities” was stronger (see Figure 4.11.) In addition to serving their resident cities, Early Music
organizations should consider expanding their concert’s geographic reach. Performing in
45 There is also a growing body of evidence on the positive effects that social activities have on health, wellness, and increased longevity for those with significant lifestyle changes. People are living longer, adding more years to partake in social leisure activities. See: Steffens, Niklas K, et al. “Social Group Memberships in Retirement Are Associated with Reduced Risk of Premature Death: Evidence from a Longitudinal Cohort Study.” BMJ Open, British Medical Journal Publishing Group, 1 Jan. 2016, bmjopen.bmj.com/content/6/2/e010164. Accessed 8 Mar. 2020. 46 This kind of price optimization through discounts is a common practice in the airline industry. 47 E., F. G. “Handel's Messiah: Some Notes on Its History and First Performance.” The Musical Times and Singing Class Circular 43, no. 717 (1902): 713–18. https://doi.org/10.2307/3369538.
41
surrounding cities and towns may result in new patrons and fans, as well as help spread the
untold gospel of Early Music to new audiences.
5.3 Limitations
Greater participation from all sixteen functioning organizations may have resulted in a
more even distribution of respondents across geographic locations. Houston participation
numbers were much lower than those in Dallas and Austin, resulting in uneven respondent
distribution across all cities. Because this was not a nationally distributed survey, variance is
likely in other areas of the United States. Also, the survey filtered out those who had not attended
an Early Music concert within the last 12 months. This filter had the benefit of drawing
prevailing impressions from a currently active consumer group. However, it did reduce the
quantity of information that was available to be collected and analyzed.
42
APPENDIX A
IRB APPROVAL
43
November 20, 2019 PI: Stephen Morscheck Study Title: Early Music Audiences: Survey and Analysis of Audience Experiences at Early Music Performances RE: Human Subjects Application # IRB-19-667 Dear Dr. Stephen Morscheck: In accordance with 45 CFR Part 46 Section 46.104, your study titled “Early Music Audiences: Survey and Analysis of Audience Experiences at Early Music Performances” has been determined to qualify for an exemption from further review by the UNT Institutional Review Board (IRB). Attached to your IRB application in the Study Detail section under the Attachments tab are the consent documents with IRB approval. Since you are conducting an online study, please copy the approved language and paste onto the first page of your online survey. You may also use the enclosed stamped document as the first page of your online survey. No changes may be made to your study’s procedures or forms without prior written approval from the UNT IRB. Please contact The Office of Research Integrity and Compliance at 940-565-4643 if you wish to make any such changes. Any changes to your procedures or forms after 3 years will require completion of a new IRB application. We wish you success with your study. Note: Please do not reply to this email. Please direct all questions to [email protected] Sincerely,
Gabe Ignatow, Ph.D. Professor Chair, Institutional Review Board
44
APPENDIX B
QUESTIONNAIRE
45
This study tries to capture people’s perceptions and feelings about Early Music. Please take a few minutes to complete this questionnaire. Q1. In the last 12 months, how often have you attended any of these performances? More than 5
times a year Five times a year
4 times a year
3 times a year
Twice a year
Never
Early music performance
Classical music performances
Opera performances
Jazz performances
Other Name Genre
Q2. What is your favorite genre of performance (check one)?
Classical
Early music
Opera Jazz Other – Name Genre
Q3. On average, how much do you spend (per person) to attend an early music performance? $__________________________ Q4. What according to you is a fair price per ticket (per person) to attend an early music performance? $____________________ Q5. Do you have a season pass
Yes No Name the organization
A. How strongly do you associate the following words/sentence with “Early Music?” Give your response using the following scale anchored between strongly disagree to strongly agree scale.
I attend/listen to early music concerts because …
Strongly Disagree Disagree
Neither agree nor disagree
Agree Strongly Agree
Because it lifts me up 1 2 3 4 5
Because it helps reduce my stress 1 2 3 4 5
Because I like the music 1 2 3 4 5
Because I like the venue 1 2 3 4 5
Because I am invited by friends 1 2 3 4 5
Because I personally know the performers 1 2 3 4 5
Because my friends go to it 1 2 3 4 5
Because it helps me meet new people 1 2 3 4 5
Because it is expected in my social circle 1 2 3 4 5
46
Because it makes me less depressed 1 2 3 4 5
Because it is expected in my friend circle 1 2 3 4 5
Because it helps me forget my problems 1 2 3 4 5
Because it is inspiring 1 2 3 4 5
Because I receive a discounted ticket 1 2 3 4 5
Because the venue is convenient 1 2 3 4 5
Because my friends expect me to 1 2 3 4 5
Because it is expected in the arts community. 1 2 3 4 5
Because I have nothing else to do 1 2 3 4 5
Because it is a supportive gesture to the artists 1 2 3 4 5
Because it is nearby my home 1 2 3 4 5
Because I receive a complimentary ticket 1 2 3 4 5
Q6. How do you typically hear about concerts (Check all that apply)?
Word of Mouth
Radio ads
Newspaper/Magazines
Subscribed mailing lists
Community calendars
Social Media
Other - Name source
Q7. How would you like to hear about concerts (rank order)?
Word of Mouth
Radio ads
Newspaper/Magazines
Subscribed mailing lists
Community calendars
Social Media
Other - Name source
B. How strongly do you associate the following words/sentence with “Early Music?” Give your response using the following scale anchored between strongly disagree to strongly agree scale.
I attend/listen to early music concerts, because …
Strongly Disagree Disagree
Neither agree nor disagree
Agree Strongly Agree
It is uplifting 1 2 3 4 5
It is boring 1 2 3 4 5
It is elitist 1 2 3 4 5
It is for everyone 1 2 3 4 5
It is exciting 1 2 3 4 5
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It is inspiring 1 2 3 4 5
It is spiritual 1 2 3 4 5
I like to attend post-concert receptions 1 2 3 4 5
I invite others to attend concerts with me 1 2 3 4 5
I tell others about the early music concerts I attend 1 2 3 4 5
I like to attend pre-concert lectures 1 2 3 4 5
I like reading concert reviews in my local paper 1 2 3 4 5
Concert reviewer opinions are important to me 1 2 3 4 5
I like the concert venue choices 1 2 3 4 5
I like the geographic location of the venue 1 2 3 4 5
It is easy to find parking at concerts 1 2 3 4 5
It is affordable to park at concerts 1 2 3 4 5
I enjoy singing or playing a musical instrument 1 2 3 4 5
I studied music seriously in school 1 2 3 4 5
I am currently in a choir or instrumental group 1 2 3 4 5
I attended classical music concerts when growing up 1 2 3 4 5
I like to talk with the musicians after the performance
1 2 3 4 5
I like to meet the musicians in the performance 1 2 3 4 5
I learn new things when I attend concerts 1 2 3 4 5
I like learning new things 1 2 3 4 5
I like reading the concert program 1 2 3 4 5
I like reading printed program translations 1 2 3 4 5
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I like reading projected translations 1 2 3 4 5
I like drink-in-hand concert settings 1 2 3 4 5
I like getting dressed up to attend a performance 1 2 3 4 5
I like wearing comfortable clothes to a performance 1 2 3 4 5
Concert etiquette at performances makes me feel uncomfortable
1 2 3 4 5
I think early music concerts are too long 1 2 3 4 5
I think early music concerts are too short 1 2 3 4 5
Q8. In which of the following venues have you attended an early music performance?
Concert hall
Church
Private homes
Café/Bars
Community center
Art Galleries
Other – Name Genre
Q9.Which venue do you like the most as a venue for early music concerts (rank order)?
Concert hall
Church
Private homes
Café/Bars
Community center
Art Galleries
Other – Name Genre
D1. Gender
Male (1) Female (2)
D2. Your age?
(1) Less than 21 yrs
(2) 21-25 yrs (3) 26-30 yrs
(4)31-35 yrs
(5) 36-40 yrs
(6) 41-45 yrs (7) 46-50 yrs (8) 51-55 yrs
(9) 56-60 yrs
(10) More than 60 yrs
D3.Your Household Income?
(1) Less than $20,000
(2) $20,001-40,000
(3) $40,001-60,000
(4) $60,001-80,000
(5) $80,001-100,000
(6) $100,001-120,000
(7) $120,001-140,000
(8) $140,001-160,000
(9) More than $160,000
D4. Are you a student?
Full-time (1)
Part-time (2) Not a student (3)
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D6. Do you have children?
No (0)
1 (1)
2 (2) 3 (3) More than 3 (4)
D7. City closest to your home
DFW Houston
San Antonio
Austin
Other -
D8. You currently
Do not work (1)
Work Part-time (2)
Work Full-time (3)
Own my business (4)
Retired (5)
D9. Education Some
College (1)
College (2)
Master’s (3)
Ph.D. (4)
Other (5)
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APPENDIX C
SUPPLEMENTAL DATA TABLES AND FIGURES
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Table C.1: Early Music Consumer Self-Assessment
Table C.2: Reasons for Attending or Listening to Early Music Concerts
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Table C.3: Ticket Price by City: ANOVA
Table C.4: “Reasons for Attending” Pyschographics by City
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Table C.5: Self-Assessment Psychographics by City
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Figure C.1: Texas Early Music Consumer Income
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APPENDIX D
PARTICIPATING ORGANIZATIONS INFORMATION
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Houston Organizations
Ars Lyrica Houston Ars Lyrica Houston uses period instruments and performance practices to breathe life into the expressive instrumental and vocal chamber repertory of the Baroque era, giving world-class performances and making this music relevant to contemporary audiences through innovative concert presentations. URL: http://www.arslyricahouston.org/ Houston Early Music Houston Early Music is a chartered, non-profit, organization whose purpose is to present historically-informed performances of Early Music from the European traditions and other world cultures in concerts featuring internationally renowned vocal, instrumental, and chamber musicians. URL: http://www.houstonearlymusic.org/ Les Touches Consort A viola da gamba consort performing chamber music from the Medieval, Renaissance and Baroque periods. URL: https://www.lestouches.org/ La Speranza La Speranza is a group of string and wind players that bring chamber music performances on period instruments of repertoire spanning from the Baroque to early Romantic eras. URL: https://www.la-speranza.com
Dallas Organizations
Lumedia Musicworks Lumedia Musicworks brings the excitement of Early Music into the modern era with fresh perspectives, captivating media, and live performances, making it accessible to new audiences in Dallas-Fort Worth and beyond. In tandem with their live programming, Lumedia also produces short musical films. By inhabiting both live and digital performance spaces, Lumedia creates a lasting and positive experience. They have a vision to return Early Music to popular and often non traditional environments where it can be enjoyed, appreciated, and understood by new audiences. URL: http://www.LumediaMusicworks.com Orchestra of New Spain Performing on period instruments, the Orchestra of New Spain features unpublished 18th-century Spanish works found only in manuscript in the libraries of the Royal Court and cathedrals of Spain. In addition the orchestra performs music from the general repertory of the 17th, 18th, and 19th centuries. URL: http://www.orchestraofnewspain.org
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Denton Bach Society Offering historical choral and instrumental music to the greater Denton community since 1976. URL: http://www.dentonbach.com/
Austin Organizations Austin Baroque Orchestra Austin Baroque Orchestra & Chorus seeks to immerse its audience in the sound world of the past by performing high-quality music from the sixteenth, seventeenth, eighteenth, and early nineteenth centuries using replicas of period instruments and historically-informed performance techniques. URL: http://www.austinbaroqueorchestra.org Texas Early Music Project Founded in 1987 by Daniel Johnson, the Texas Early Music Project is dedicated to preserving and advancing the art of Medieval, Renaissance, Baroque, and early Classical music through performance, recordings, and educational outreach. URL: http://www.early-music.org/ Austin Troubadours The Austin Troubadours is an international group of instrumentalists and singers whose mission is to revive the beauty of musical masterpieces from Medieval and Renaissance Europe. URL: http://www.austintroubadours.com/
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