Raised on Radio at the Center for the Arts of Homer April 6
2022 Guide to Summer Camps, Institutes & Programs
Programme your summer of music (finally …)
November 2021
As proven by the roughly 300 individual listings in the 2022 Guide, the phrase summer "camp" no longer applies strictly to children at play, nor does "institute" imply young artists at piece of work. You can study lied in Vienna, practise yoga in Belgium, sing your centre out in Mandarin in China, play tennis in Peoria, or learn the Taubman Method at the Golandsky Plant in California.
2021-22 Guide to Music Schools
Pursuing musical education in the pandemic historic period
September 2021
Students of the arts in one case sought only to railroad train to achieve artistic excellence, but at present that's not plenty. On the heels of the pandemic and the move to streaming, an artist must as well be an audio/video producer, winning onscreen personality, social media adept, and marketing whiz.
Music schools and conservatories are attempting to run into the claiming with solutions ranging from mentoring kinesthesia, technology, and internships and fellowships, to name a few. Pay close attending to the Guide's "Career/Post Graduate Help" section
2021 Guide to Summertime Festivals
Looking ahead to a flavor of music
April 2021
Our largest Festivals Guide
Hope is in the air, vaccinations are in (many) arms, and our hardy crop of mountain, lakeside, and pastorally sited music-makers appear to be in recovery mode from a very long year. The latest Guide lists 100-plus entries, some notwithstanding in the throes of programme planning, others with their schedules nailed down, one or two strictly online, and nearly a combination of the above. We are thrilled on many levels to evangelize the Guide and look frontward to a summer season of music.
2021 Guide to Top Competitions
Competing in the time of COVID-nineteen
February 2021
Details for nearly 100 top competitions
With the inflow of the vaccines, a bit of light has emerged at the end of a long tunnel for musicians and competitions. Information technology is a testament to competition organizers that, whether postponing deadlines, changing venues, or being forced to brand any number of other alterations, these competitions have persevered. Their commitment to bringing new, infrequent talent into the limelight persists, and with that, their connected nourishment and renewal of the field.
2021 Guide to Summertime Camps, Institutes & Programs
Envisioning Summer 2021
November 2020
Summertime 2021 holds hope: by then, having waited for COVID-xix to dissipate, artists will be hungry to perform, rehearse, teach, and/or listen to live music in a shared environment. Fortunately, in that location are many opportunities being planned, and our almanac Guide to Summertime Camps, Institutes, and Programs lists nearly 300 possibilities.
2020-21 Guide to Music Schools
⇒ Includes pandemic policies for each school
September 2020
The Guide is always a substantial undertaking, even under normal circumstances.
Needless to say, nosotros are not in normal circumstances. Looking into what is nonetheless a very cloudy crystal ball, we have added a few practical, pandemic-caused questions this year: Will you lot be starting in the fall as planned? After? Will classes shift online? Will masks exist required on campus? What about testing? Will classes be smaller? Any academic changes in store? Will on-campus housing be altered? Tuition alter?
Consider: a new generation of musicians who are not merely learning their craft, but also developing new coping skills, learning how to go with the period, and, possibly most chiefly, become video producers par excellence.
2020 Guide to Summer Festivals
Details for more than 100 events
April 2020
While the 2020 Guide to Summer Festivals is packed with more than 100 festivals, this Guide is likewise equally much an expression of hope equally it is of planning in this unpredictable time.
Festivals' status and schedules are in continual flux, as y'all might imagine, and so this Guide accurately reflects everyone's plans for the coming season. We urge you to check with the individual events to ostend; nosotros will exist updating these pages every bit nosotros receive new information.
Musical America's 2020 Festival Guide offers a wealth of robust programming plans and we promise to see them come to fruition.
2020 Guide to Superlative Competitions
Details for more than 90 contests
February 2020
Competitions have many moving parts—application deadlines, eligibility rules, artistic disciplines, frequency, dates, fees, jury members. We've gathered and filtered them all to present the sixth Guide to Competitions, our largest notwithstanding.
In addition, each part has subtleties and iterations. For example, jury members may be teachers and, if so, the question arises as to whether their students will be allowed to compete (always a sharp discussion indicate after the winners are announced).
We run all those disparate elements through our filter to brand the result as useful every bit possible. We hope it'south helpful, both to aspiring talent and to those trying to find the bright time to come stars.
The MA 30 Professionals of the Year:
The Movers & Shakers of the Performing Arts
December 2019
We polled the worldwide performing arts manufacture:
Who keeps the performing arts relevant?
This yr's Superlative 30 are wonderfully diverse, ranging from creative person managers to publicists, teachers, operations chiefs, impresarios and record producers.
We inquire the industry each fall for the folks who deserve major kudos for all they take done and are doing to continue the performing arts vibrant. Join us in saluting the 2019 Musical America Professionals of the Twelvemonth.
2020 Guide to Summer Camps, Institutes & Programs
November 2019
We gathered all the of import details you demand to make decisions for your 2020 summer. From a villa in Tuscany to a log cabin in the Colorado Rockies, summertime programs are popping up everywhere—and we have details on most 300 of them.
These relaxed, often bucolic settings also provide vast opportunities for networking and for just plain making new friends. Some of them offering regular campsite activities, such as hiking and swimming; one program provides archery didactics along with main classes in cord playing and chamber music. In virtually all cases, the chance to mix and mingle with the kinesthesia is a given—meals are often served in a common dining room and the attire, except perhaps at those evening events, is strictly casual.
We hope you enjoy perusing your summertime music options, no thing your age, expertise, or geographical preference.
2019-20 Guide to Music Schools
September 2019
For our largest Music Schools Guide, we culled about 60 institutions from our information base of nearly 1,200 schools. We focused on quality and reputation, and paid lilliputian attention to school size.
The result: the 2019-twenty Guide runs the gamut from the Academy of Vocal Arts in Philadelphia (23 students) to the Jacobs School of Music at Indiana University (ane,600 students).
While a schoolhouse's size doesn't necessarily impact its quality, it can impact the breadth of options. Big academy music programs will more likely offering, say, a double degree in trombone operation and business. However, some of the smallest schools are tuition-free, and most schools in the Guide offers some training in the music business.
For the student of the arts, it seems the field is rich in options.
2019 Guide to Festivals
April 2019
The newest Guide to Festivals covers nearly 100 festivals with everything from opera in the Swiss Alps and sleeping room music in a California vineyard to prepared piano at a Massachusetts modern art museum.
Such is a sampling in our sixth annual Guide to Summer Festivals. Additional highlights: the earth premiere of Poul Ruders'due south
And they say the season slows downward in summer.
2019 Guide to Top Competitions
February 2019
This is our 5th almanac Guide and it offers annotated listings of all shapes and sizes of competitions. They range from pianoforte to phonation to woodwind to all of the above; from annual to biannual to quadrennial; some include master classes; some are open to the public and include live rounds, others are by recorded submission only. Only be they evolving or staying the same, competitions of whatever stripe remain an exciting way to discover, develop, and award our rising artists.
Nosotros as well sat with Pierre van der Westhuizen, currently in his second year as director of the Irving Southward. Gilmore Keyboard Festival and Awards. Westhuizen knows his manner around competitions, having been the previous CEO of the Cleveland International Piano Competition, which he transformed into a earth-grade, multi-faceted feel.
The MA 30 Professionals of the Year:
Innovators, Independent Thinkers, and Entrepreneurs
December 2018
Nosotros asked the worldwide performing arts industry:
Who makes it all work?
These are the heroes, sung and (heretofore) unsung, of the performing arts manufacture. What is hitting about these individuals is their passion, inventiveness and dedication to making the arts thrive.
These are the folks who brand the industry tick, begin the new ideas, become the artists on stage, help build the audiences and railroad train the artists of tomorrow.
| Read the manufactures below or |  |
| • | Bonnie Barrett, Managing director, Yamaha Creative person Services New York | • | Shelly Berg, Dean and Patricia Fifty. Frost Professor of Music, Frost School of Music, University of Miami |
| • | Lorenzo Brewer, Founder and CEO, nkoda | • | Linden Christ, Director of Pedagogy, Chicago Opera Theater |
| • | Christine Taylor Conda, Chair, Board of Directors, El Sistema The states; Manager, Achieve*Teach*Play® Didactics Programs, Ravinia Festival | • | Joseph Conyers, Banana Chief Bass, Philadelphia Orchestra; Executive Director, Project 440 |
| • | Damien Crutcher, CEO, Crescendo Detroit | • | Trey Devey, President, Interlochen Center for the Arts |
| • | Eric Einhorn, General and Artistic Director, On Site Opera | • | Aiden Kim Feltkamp, Managing director of Emerging Composers and Variety, American Composers Orchestra |
| • | Gabriela Lena Frank, Founder, Gabriela Lena Frank Creative Academy of Music; Composer | • | Aloysia Friedmann, Founder/Artistic Manager, Orcas Island Chamber Music Festival |
| • | Heather Gladstein, Personal Assistant, Consultant & Tour Manager | • | James Gourlay, Music Director and CEO, River City Contumely |
| • | Lacey Huszcza, Executive Managing director, Las Vegas Philharmonic; Former Acquaintance Executive Director, Los Angeles Bedchamber Orchestra | • | Homer Jackson, Managing director, Philadelphia Jazz Project |
| • | Barbara Lister-Sink, Director, School of Music and Graduate Music Program; Professor of Piano, Salem Higher | • | Evan Mack, Composer, Pianist, Professor |
| • | Terrance McKnight, Evening Host, WQXR Radio | • | Naoyuki Miura, Mari Ono, Artistic Director, Executive Director/Associate Creative Director, Music From Japan |
| • | Amy Schwartz Moretti, Managing director, Robert McDuffie Center for Strings | • | Dantes Rameau, Co-Founder and Executive Manager, Atlanta Music Projection |
| • | Erik Rönmark, VP and General Manager, Detroit Symphony Orchestra; Co-founder and Executive Director, New Music Detroit | • | Clyde Scott, Manager of Video Production/Resident Projection Designer, New Earth Symphony |
| • | Steve Shaiman, Senior Vice President, Concert Artists Lodge | • | Amanda Sweet, President, Bucklesweet |
| • | Alan Valentine, President and CEO, Nashville Symphony | • | Abigayl Venman, Senior Director of Arts Leadership, Sphinx Organisation |
| • | Julian Wachner, Director of Music and Arts, Trinity Wall Street; Composer | • | Lecolion Washington, Executive Director, Community Music Centre of Boston |
2019 Guide to Summer Camps, Institutes & Programs
November 2018
The largest Summer Guide all the same
The 2019 Guide contains nearly 200 national and international listings. Some combine learning from the pros by day with listening to them perform by night. Others put the talent-in-training on stage and charge admission.
The programs come in all shapes and sizes. Some take place over a weekend, others last all summer. At the Salzburg Summer Music Academy, i,000 students piece of work with a faculty of lxx; at the Bang on a Tin Summer Festival, the count is 40 teachers to 11 students; at NYO Jazz, it's 22 to x; at Tanglewood it's 155 to 75. Some are gratis, some are decidedly not.
Virtually all of the pre-professional institutes crave an audition of some kind, while those for the very young steer clear of a competitive atmosphere. The listings in the Guide provide many options for musical self-improvement, with the added summertime bonuses of fun, friendship, and warm weather.
25 Stars Nonetheless Rising: Where are they Now?
x Years of New Artists of the Month
June 2018
Nearly 10 years ago, Musical America launched a characteristic called New Creative person of the Month. The criterion for being called was (and still is) that the performer/composer/conductor either be a relative newcomer or someone long toiling in the field without the recognition he or she deserved. The simply other criterion was that he or she had been witnessed in action past i of our contributors, who felt this was a talent worth watching.
Now, nearly 115 months after, we've accumulated a listing of more than 100 not-so-new-but-yet-rising artists. Following is an update of 25 of our proudest picks, arranged oldest to newest.
| Read the articles below or | |
| • | Baritone Adam Plachetka, February 2009 | • | Conductor Lionel Bringuier, April 2009 |
| • | Pianist Di Wu, May 2009 | • | Composer Mason Bates, June 2009 |
| • | Cellist/Composer Joshua Roman, August 2009 | • | Violinist Caroline Goulding, Decmeber 2009 |
| • | Pianist Tamara Stefanovich, March 2010 | • | Baritone Quinn Kelsey, May 2010 |
| • | Choreographer Kyle Abraham, June 2010 | • | Soprano Leah Crocetto, August 2010 |
| • | Tenor Sean Panikkar, November 2010 | • | Dancer Robert Fairchild, January 2011 |
| • | Composer Du Yun, May 2011 | • | Pianist Daniil Trifonov, August 2011 |
| • | Usher Ward Stare, November 2011 | • | Soprano Corinne Winters, Jan 2012 |
| • | Violinist Tessa Lark, August 2012 | • | Violinist Patricia Kopatchinskaja, December 2013 |
| • | Conductor Omer Meir Wellber, June 2014 | • | Conductor Speranza Scappucci, November 2014 |
| • | Conductor Christopher Allen, July 2015 | • | Conductor Mirga Gražinyte-Tyla, September 2015 |
| • | Composer Rene Orth, November 2015 | • | Composer Michael Gilbertson, March 2016 |
| • | Cellist Sheku Kanneh-Stonemason, January 2017 |
The MA 30 Professionals of the Year:
Movers & Shapers
Dec 2017
The Musical America Worldwide audience voted for the movers & shapers and here they are: 30 Professionals of the Year who are shaping the performing arts landscape for the future. From Carnegie Hall to the Crazy Horse Memorial in South Dakota, from Omaha Performing Arts to the Actually Spicy Opera of the Twin Cities, these are the people redefining and driving the performing arts towards a future shaped past their vision.
| Read the manufactures below or | |
| • | Douglas Beck, Director, Creative person Preparation Programs, Weill Music Institute, Carnegie Hall | • | Bob Becker, Founding Member, Nexus; Composer/Arranger |
| • | Sarah Burman, Manager of Operations and Teaching, South Dakota Symphony Orchestra | • | Annie Burridge, General Manager & CEO, Austin Opera |
| • | Carla Dirlikov Canales, Founder, CEO, & Artistic Director, The Canales Project | • | Basil Considine, Founder and Artistic Director, Really Spicy Opera |
| • | Paul Crewes, Artistic Director, Wallis Annenberg Center for the Performing Arts | • | Will Crutchfield, General and Artistic Manager, Teatro Nuovo |
| • | Margo Drakos, Co-founder and CEO, ArtistYear | • | Elena Dubinets, Vice President of Artistic Planning, Seattle Symphony |
| • | Peggy Kriha Dye, Artistic Manager, Opera Columbus | • | Cori Ellison, Opera Dramaturg, Teacher |
| • | Andrea D. Fessler, Founder and Executive Director, Premier Performances of Hong Kong | • | Bernhard Fleischer, Managing Manager, Bernhard Fleischer Moving Images |
| • | Noreen Green, Creative Managing director and Conductor, Los Angeles Jewish Symphony | • | Sean Michael Gross, Executive VP and Chief Strategy Officer, 21C Media Group |
| • | Neeta Helms, Founder/President, Classical Movements | • | Jim Hirsch, Chief Executive Officeholder, Chicago Sinfonietta |
| • | Red Jacobs, Co-Founder, Librettist, White Snake Projects | • | Peter Jarvis, Salesman, Reuning & Son Violins; Faculty member, New England Conservatory Prep |
| • | Alex Laing, Principal Clarinet, Phoenix Symphony; Founder, The Leading Tone | • | Tania León, Composer, Conductor; Founding Artistic Director, Composers At present |
| • | Mark Lowry, Co-Founder, Editor, and Principal Theater Critic, Theater Jones | • | Quinton Morris, Assoc. Prof. of Violin, Director of Bedroom and Instrumental Music, Seattle Academy; Managing director, Key to Modify Studio |
| • | Eugene Rogers, Associate Managing director of Choirs, Acquaintance Professor of Conducting, Academy of Michigan | • | Alex Ross, Music Critic, The New Yorker; Writer, The Residuum Is Noise, Listen to This |
| • | Marna Seltzer, Director, Princeton University Concerts | • | Yuval Sharon, Founder/Artistic Managing director, The Industry |
| • | Joan Squires, President, Omaha Performing Arts | • | Nancy Umanoff, Executive Director, Mark Morris Dance Grouping |
The MA 30 Professionals of the Year:
The Innovators
Dec 2016
The Musical America Worldwide audience voted for the innovators and here they are: women composers who mentor teenage girls to follow in their footsteps; opera company GM's who are pushing the envelope and bringing in new audiences; a cellist who plays in neo-natal units; a usher who leads choirs of homeless men and women; a pianist bringing dorsum the pedal piano past commissioning new works for it; a competition in which everybody wins; a publicist who creates a press kit with origami cranes to promote a show called Wings.
Their ideas and the courage to follow them through, no thing how off-the-wall, controversial, or otherwise out of the box, keep united states of america moving forward, spur us on to stay creative and keep the field of performing arts vital and exciting.
| Read the articles below or | |
| • | Zuill Bailey, Artistic Director, El Paso Pro-Musica | • | Fred Bronstein, Dean, Peabody Establish |
| • | Jane Covner, Associate, JAG Entertainment | • | David B. Devan, Full general Director and President, Opera Philadelphia |
| • | Helen Eaton, Principal Executive Officeholder, Settlement Music Schoolhouse | • | Alan Fletcher, President and CEO, Aspen Music Festival and Schoolhouse |
| • | Adrian Fung, Vice President, Innovation, Toronto Symphony Orchestra | • | James Ginsburg, President, Cedille Chicago |
| • | Ed Harsh, President and CEO, New Music USA | • | Thomas Knific, Head of Jazz Studies, College of Fine Arts, Western Michigan University |
| • | Christopher Koelsch, President and CEO, Los Angeles Opera | • | Missy Mazzoli and Ellen Reid, Luna Composition Lab |
| • | Benjamin Mitchell, Founder and President, Kaleidoscope Bedroom Orchestra | • | Beth Morrison, Creative Producer, Beth Morrison Projects |
| • | Kristin Olson and Nadir Aslam, Founders, Mount Sinai Concerts for Patients | • | Bill Palant, Founder and Managing Director, Étude Arts |
| • | Jonathan Palant, Founder/Conductor, Dallas Street Choir | • | Troy Peters, Music Manager, Youth Orchestras of San Antonio (YOSA) |
| • | Paola Prestini, Executive/Artistic Manager, National Sawdust | • | Roberto Prosseda, Pianist |
| • | William Ransom, Artistic Managing director, Emory Chamber Music Society of Atlanta | • | Richard Scerbo, Director, National Orchestral Institute + Festival |
| • | Paul Schwendener, Executive Managing director, All-Star Orchestra | • | Josh Shaw, Artistic Director, Pacific Opera Project |
| • | Chad Smith, Main Operating Officer, Los Angeles Philharmonic | • | Nick Squire, Recording Engineer, Boston Symphony Orchestra |
| • | Melvin Stecher and Norman Horowitz, Executive Directors, New York International Piano Competition | • | Christian Thompson, Artistic Counselor, Orchestre National de Lyon |
| • | Stephen Wadsworth, Director of Opera Studies, The Juilliard School | • | Katie Wyatt, Executive Managing director, Kidznotes |
 | The Move to Mobile: Ticketing, Programming & Marketing in the Arts November 2016 Your audiences are mobile and are using their devices before, during(!) and afterward performances, co-ordinate to research in this Special Report. Is your mobile marketing, ticketing and programming coming together your customers' needs? |
| Read the articles below or | |
| • | Mobile Preferences among Arts Patrons | • | Going Mobile: The Options |
| • | Going Mobile: A Few Vendors | • | Redesigning with Mobile in Mind |
| • | Making the Switch to Mobile Ticketing | • | Making the Switch:: The Wheeler Opera House in Transition |
| • | Making the Switch: Maryland Symphony's Eureka Moment | • | Making the Switch: Cleveland Orchestra's New Ticketing App |
| • | Mobile and Live Operation: A Not Imperfect Marriage | • | iii Mobile Solutions, three Years Later |
 | Audience Development Growing Audiences: 7 Success Stories June 2016 Every bit the digital entertainment options continue to explode, arts organizations are devising ever-more ingenious solutions for growing audiences and staying relevant. Here are how seven arts organizations are using new thinking, new programs and new media. |
| Read the articles below or | |
| • | The Pacific Northwest Ballet Gets By "It'south Not for People like Us" | • | The Clay Studio: Hands-on Participation Opens New Doors |
| • | New World Symphony's Wallcast: Planting the Seeds of Future Audiences | • | Fleisher Art Memorial: Staying Relevant in a Changing Neighborhood |
| • | Minnesota Opera: A Non-traditional Partner Attracts a New Audition | • | Manhattan Theatre Order: $thirty Tickets for xxx-Twelvemonth-Olds |
| • | Chicago Theatre Week: The Collaborative Arroyo to Audience Development |
 | The MA 30 Professionals of the Year: The Influencers Dec 2015 We recently asked the MA community to nominate thirty people who are making a deviation in our business, either past virtue of their position, their creativity, and/or their dedication—folks virtually whom you could say, "When they speak, we listen." You answered, with hundreds of nominees. Delight bring together us in celebrating the Musical America 30: The Influencers. |
| Read the manufactures below or | |
| • | Mei-Ann Chen, music director, Chicago Sinfonietta and Memphis Symphony Orchestra | • | Janet Cowperthwaite, managing managing director, Kronos Quartet/Kronos Performing Arts Association |
| • | Adam Crane, vice president for external diplomacy, St. Louis Symphony Orchestra | • | Geoffrey John Davies, founder & CEO, The Violin Aqueduct |
| • | Afa Sadykhly Dworkin, president & artistic director, Sphinx System | • | Ruth Felt, founder & president, San Francisco Performances |
| • | Leila Getz, founder & creative managing director, Vancouver Recital Social club | • | Yehuda Gilad, music managing director, The Colburn Orchestra |
| • | Michael Heaston, director, Domingo-Cafritz Young Creative person Plan | • | Jonathan Herman, executive director, National Guild for Community Arts Instruction |
| • | David Katz, founder & chief judge, The American Prize | • | Dr. Tim Lautzenheiser, vice president of education, Conn-Selmer |
| • | Alecia Lawyer, founder, creative manager & primary oboist, River Oaks Chamber Orchestra | • | Charlotte Lee, president & founder, Primo Artists |
| • | Jim Limbacher, managing manager & president, St. Paul Chamber Orchestra | • | Bob Lord, CEO, PARMA Recordings |
| • | Cheryl Mendelson, CEO, Harris Theater for Music and Dance, Chicago | • | Jerald Miller, managing manager, Nu Jazz Agency |
| • | Rocío Molina, flamenco dance artist | • | Francisco J. Núñez, founder & creative director, Young People'south Chorus of New York Urban center |
| • | Jordan Peimer, executive director, ArtPower!, University of California, San Diego | • | Amit Peled, cellist & professor, Peabody Conservatory |
| • | Scott Reed, president & CEO, Music Academy of the West | • | Lois Reitzes, director of arts and cultural programming, WABE-FM, Atlanta |
| • | James Nyoraku Schlefer, artistic director, Kyo-Shin-An Arts | • | David Srebnik, classical music program director, Sirius XM |
| • | Xun Sun, music manager & conductor, Orchestra of Southern Utah | • | Pierre van der Westhuizen, president/CEO, Cleveland International Piano Competition |
| • | Diane Wittry, music director, Allentown Symphony Orchestra, Ridgewood Symphony Orchestra | • | Yolanda Wyns, music program director, Harlem School of the Arts |
 | Publishing 2.0: The Move Toward Digital November 2015 The motility toward delivery and use of digital music scores (and music notation software) has gained enormous speed since our first Special Study on the subject area final yr. Discover what major organizations and innovators are doing. |
| Read the articles below or | |
| • | Digital Score Commitment—Finding a Universal Model | |
| Bonus: Results of G. Shirmer survey with the | ||
| Major Orchestra Librarians' Clan | ||
| • | Digital vs. Print: 3 Committed Converts | |
| • | Digital vs. Print: 3 Music Librarians Weigh the Pros and Cons | |
| • | Editing in the New Historic period: Same Job, Different Tools | |
| • | Accessing Music Scores on the Spider web: Where to Look for What |
 | Digital Streaming: Reaching a Larger Audition through Digital Means June 2015 The promise has been there for a while: streaming your live performances to a vastly expanded worldwide audience. But merely recently take all the elements come together, such as Internet speed, ecommerce tools, reduced video cosmos costs and audition comfort with the digital streaming medium. Is it time to take a serious bound into live digital streaming? Musical America asked the bellwethers how they did it and interviewed experts to observe the best means to become started (and where the pitfalls are). |
| Read the articles below or | |
| • | How the Detroit Symphony Live-streamed Its Way to Success | • | A Few Tips for First-time Streamers |
| • | Platforms and Providers: A Few of the Biggies that Stream Classical Music Alive | • | How Medici.goggle box Turned a Slowing TV Marketplace into a Speedy, Streaming One |
| • | Platforms and Providers: A Few That Specialize in Classical Music | • | The Digital Concert Hall: A Virtual Venue, Literally |
| • | Nuts and bolts: from the Philharmonie to cyberspace | • | Five Minutes with the Chicago Symphony: Where to Put Streaming in the Media Mix |
| • | How it works, from script to stream | • | Untangling the rights |
 | The MA 30 Professionals of the Twelvemonth: Profiles in Courage December 2014 We recently asked the worldwide performing arts customs to nominate thirty people who have "taken a chance, spoken out where others were silent—all to the measurable benefit of their arts organizations and the field." You answered, with hundreds of nominees. For the Musical |
| America editors, it was a labor of love. We combed through the nominees (non an easy task; all were deserving) and based our thirty final choices on those who tin show measureable results, uniqueness, persistence in the face of resistance or hardend tradition, and inventiveness. These are the risk-takers and innovators. Delight join us in celebrating the Musical America 30: Profiles In Backbone. | |
| Read the articles below or | |
| • | Peter Alward, managing manager, Salzburg Easter Festival | • | Alexander Lombard, president & CEO, Lake George Music Festival |
| • | Martin Anderson, founder & CEO, Toccata Classics | • | Ellen McSweeney, musician & blogger, NewMusicBox |
| • | Steven Blier, creative director, New York Festival of Vocal | • | Michael Morgan, music manager, Oakland Due east Bay Symphony |
| • | Misty Copeland, Soloist, American Ballet Theatre | • | Mattias Naske, intendant, Vienna Konzerthaus |
| • | Aaron Dworkin, founder & president, Sphinx Organization | • | Sara Nealy, executive director, Festival Opera |
| • | Hobart Earle, music director, Odessa Philharmonic Orchestra | • | Nicole Paiement, founder & creative managing director, Opera Parallele |
| • | Susan Feder, program officer arts & cultural heritage, The Andrew West. Mellon Foundation | • | Michael Pastreich, president & CEO, Florida Orchestra |
| • | Anthony Fogg, creative administrator, Boston Symphony Orchestra | • | Matthew Peacockk, founder & CEO, Streetwise Opera |
| • | Michael Fox, director of operations, Unhurt Centre Theatre | • | Joanne Polk, pianist, teacher, recording artist |
| • | Edmund and Patricia Frederick, co-founders, The Frederick Piano Historic Collection | • | Eve Queler, conductor, impresaria |
| • | Amelia Freedman, founder and artistic manager, Nash Ensemble | • | Mark Sforzini, artistic & executive director, Saint petersburg Opera Company |
| • | Wu Han, co-director, Sleeping accommodation Music Gild of Lincoln Center | • | Robert Spano, music director, Atlanta Symphony Orchestra & Aspen Music Festival |
| • | Yin-Chu Jou, artistic manager, Friendship Ambassadors Foundation | • | Becky Starobin, president, Bridge Records |
| • | Johanna Keller, director arts journalism, S.I. Newhouse Schoolhouse of Public Communications | • | Stanford Thompson, founder & artistic director, Play On, Philly! / chairman, El Sistema USA |
| • | Carol Lazier, president, San Diego Opera | • | Karen Zorn, president, Longy School of Music |
 | Ticketing: The Latest in Successful Ticket Sales November 2014 It's about data, timing and (of course) social media. |
| Read the articles below or | |
| • | Events Plus Social Media = Social Ticketing | • | Not All Systems or Suppliers are the Same |
| • | The Tessitura Story: Necessity is the Mother of Invention | • | Why, How, and When to Brand a Price Change |
| • | The Captive Audience | • | Vantage Point: One Size Does Not Fit All |
 | Customs Engagement: 5 Absurd Example Studies September 2014 Many arts organizations accept realized if they desire younger and/or more clientele, they'll accept to become out into their communities and get them. In Cool Case Studies, nosotros focus on five organizations doing just that, in means we recall are particularly inventive. |
| Read the manufactures below or | |
| • | Key Ohio Symphony's Drumming Circle | • | Baltimore Symphony Orchestra: OrchKids |
| • | The Pueblo Opera Plan | • | San Francisco Opera's ARIA Network |
| • | Musical Instrument Museum: Education is the Primary Mission |
 | Music Publishing: Copyright DeMystified June 2014 Musical America's latest Special Report, Music Publishing: Copyright Demystified, untangles the many components of the "parcel of rights" protecting and fostering the very core of the arts world: The Piece of work. After all, the proper apply of artistic works is one of the bedrocks of the business organisation also as for fostering creativity. It also keeps everyone on the correct side of the law. |
| Read the articles below or | |
| • | The Pros and Cons of Self-Publishing | • | BUSTED! The Acme X Myths of Music Copyright |
| • | Untangling the Bundle: One thousand Rights vs. Pocket-size Rights | • | Predicting the Time to come: Music Publishing in 2025 |
| • | Untangling the Bundle: Synchronization Rights, Mechanical Rights (and quite a few more than) | • | From the Musical America archives, July 1924: What will the Music of 2024 A.D. Be Like? |
| • | Commissioning a New Work: Navigating the Rights | • | Dept of Justice Takes on Music Licensing |
 | The Moment: Turning Points in 5 Boggling Careers March 2014 For some infrequent performers and business notables, success has followed a path filled with incorrect turns, lucky breaks, crises of the psyche—or all of the above. Here are the stories of five of those extraordinary careers. |
| Read the articles beneath or | |
| • | Carl Tanner: From Trucker to Compensation Hunter to…Opera Singer? | • | Nadja Salerno-Sonnenberg: A Career Crunch with a Happy Ending |
| • | Sir Nicholas Kenyon: From Apprehensive Scribe to Powerful Arts Honcho | • | Takehiro "Accept" Ueyama: The Shortstop Who Slid Into Choreography |
| • | Håkon Kornstad: A Magical Moment at the Met |
 | Movers & Shakers: 30 Fundamental Influencers in the Performing Arts December 2013 After intense reflection and (mostly civilized) debate, Musical America is proud to nowadays the Movers & Shakers of the Performing Arts Industry. Directors, presenters, marketers, executives, administrators--these are the luminaries, both in front end and behind the scenes, who relentlessly strive to innovate and expand the performing arts while keeping their organizations healthy. |
| Read the articles below or | |
| • | Brent Assink, Exec. Dir., San Franciso Symphony | • | Jenny Bilfield, President and CEO, WPAS |
| • | David Foster, President and CEO, Opus iii Artists | • | Jonathan Friend, Artistic Admin, Metropolitan Opera |
| • | Roland Geyer, Intendant, Theater an der Wien | • | John Gilhooly, Director, Wigmore Hall |
| • | David Gockley, General Dir, San Francisco Opera | • | Darren Henley, Managing Managing director, Classic FM |
| • | Kristin Lancino, Executive Director, IMG Artists | • | Stéphane Lissner, GM and Art. Dir., Teatro alla Scala |
| • | Timothy O'Leary, Gen. Dir., Opera Theater St. Louis | • | Joseph Polisi, Pres./Trustee, The Juilliard Schoolhouse |
| • | Helga Rabl-Stadler, President, Salzburg Festival | • | Jesse Rosen, Pres./CEO, League of Amer. Orchs |
| • | Deborah Rutter, Pres., Chicago Symph Orch Assn | • | Marc Scorca, Pres and CEO, OPERA America |
| • | Janis Susskind, Managing Dir., Boosey & Hawkes | • | Matías Tarnopolsky, Managing director, Cal Performances |
| • | Peter Taub, Director of Functioning Programs, Museum of Gimmicky Fine art Chicago | • | Limor Tomer, General Managing director, Concerts and Lectures, Metropolitan Museum of Art |
| • | Marking Volpe, Homo. Dir., Boston Symphony Orchestra | • | Roger Wright, Cont. BBC Radio 3, Dir. BBC Proms |
| • | Francesca Zambello, Artistic and General Director, Glimmerglass Festival, Artistic Director, Washington National Opera | • | The Magnificent 7 |
 | The Recording Maze: Navigating, Coping & Cashing In October 2013 The recording mural has been transformed past technology's relentless march forwards. Still, achieving success in whatever side of the business you are on—producing, selling, distributing, even ownership recordings—means navigating the recording labyrinth. |
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| • | The Distribution Maze: Bring a Compass, Part I | • | The Distribution Maze; Bring a Compass, Part 2 |
| • | The Distribution Maze: Bring a Compass, Part Iii | • | Five Minutes, Five Questions with 3 Height Label Execs |
| • | The All-time Classical Music App However | • | Classical Recordings & The App |
| • | The Musical America Recording Surveys | • | Fall Recordings: A Somewhat Incomplete (merely Still Pretty Good) List |
 | Social Marketing: Blueprint for Success in the Arts September 2013 Social marketing is now a critical business tool—and requires a businesslike approach. What is your strategy and ROI? Are your efforts organized for greatest bear on? What can you larn from other successful operators? |
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| • | Four Tips for Awesome Social Media Marketing Posts | • | Five Twitter Tips |
| • | It'due south (Mostly) in the Planning | • | Tracking Social Media: A Few Good Tools |
| • | V Steps to Using Facebook Insights | • | A Week in the Social Media Life of Le Poisson Rouge |
| • | State Wheel Co.'due south Facebook Success |
 | Mobile Marketing: The Arts in Motion June 2013 The stunning growth of mobile—and the way audiences take embraced it—indicate to one thing: mobile is vibrant and lucrative and will advantage performing arts organizations that target audiences through innovative, relevant marketing. |
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| • | Catching Upward with Our Mobile Guild | • | Five Organizations That are Big on Mobile |
| • | Mobile Vendors: Just a Few | • | Going Mobile: The Options |
| • | Mobile Solutions: eighth blackbird | • | Mobile Solutions: Steppenwolf |
| • | Mobile Solutions: Brooklyn University of Music | • | Mobile Solutions: Houston Symphony |
| • | Arts Patron Smartphone Utilize | • | Time for the Performing Arts to Get Mobile |
| • | Quick Tips from the Experts | • | Making Mobile Money |
 | Fundraising: Keys to the Cashbox Apr 2013 Fundraising is a performing art requiring creativity, skill, and field of study. In this Special Report, we look at successful efforts, some of the pitfalls, and how to leverage social media for ongoing fundraising success. |
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| • | Social Fundraising, an Essential Tool | • | A Quick Look at Kickstarter |
| • | How Columbia University Raised $7 Million Online in 1 Mean solar day | • | Competitive Fundraising: Wearing Your Cause on Your Face |
| • | Donations are in the Eye of the Beholder: Artseed's "Artathon" | • | Competitive Fundraising: Video Gamers Fight against Cancer |
| • | What'south in a Name? More than Y'all Might Call back | • | Turning Likes, Friends, and Followers into Donors |
| • | Information technology'south All in the Data | • | Raising Coin and the Law: Beware the Ask |
 | Ticketing: The New Historic period February 2013 It used to be unproblematic: sell the ticket, make full the business firm, earn the income, terminate of story. Not anymore. The sale is at present the showtime of a far more personalized relationship with your customer. Nosotros explore the needed engineering, skills and methods. |
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| • | 5 Tips for Selling More Tickets | • | Ticket Pricing: Technology Replaces the Crystal Ball |
| • | Buying a Ticket Is a Social Event | • | v Steps to Choosing the Right Organization |
| • | Choosing the Correct Ticketing System: The Major Players | • | How to Get the Most Out of Your Ticketing Investment Dollar |
| • | Ticketing is Getting Personal | • | Where Should Ticketing Alive in My Organization? |
| • | The Story Behind the Battle Over Paperless |
 | 2012: The Year in the Performing Arts December 2012 We took a look back at 2012 and a peek ahead at 2013. Read well-nigh the most important news stories in 2012, the twelvemonth's movers and shakers, some of the best decisions made, and predictions for 2022 from some of the industry's leaders. |
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| • | 2012 Newsmakers | • | 2012 News Milestones |
| • | 2012'due south Ten Truly Inspired Ideas | • | A few Predictions for 2022 |
| • | First Annual JJ Opera Awards |
 | Rise Stars in the Performing Arts Nov 2012 We combed the business to look for the upward-and-comers, the ones with the fresh have, people who are injecting new ideas into the performing arts industry: Artist Managers, Orchestra Leaders, Presenters, Communications & Public Affairs Pros, Educators, and Radio & Recording Pros. These professionals bring something truly special to booking, presenting, promoting, educating and raising money. Musical America's Rising Stars—the ones to sentry. |
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| • | Rising Stars in...Artist Management | • | Rising Stars in Orchestra Leadership |
| • | Rising Stars in...Presenting | • | Rising Stars in...Radio & Recording |
| • | Rising Stars in...Education | • | Rising Stars in...Communications/Public Diplomacy |
 | Visas: The Journey to the U.S. Oct 2012 Obtaining visas for not-U.S. artists to visit the United States tin can exist daunting and frustrating. Musical America talked with managers, presenters, lawyers and the U.S. government to find out how to speed this sometimes overwhelming process. |
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| • | Ten Steps to a Foreign Artist Visa: A Vastly Oversimplified Guide | • | Visa Processing Countdowns |
| • | No Such Thing as a Stupid Question | ||
| • | Tales from the Crypt: Horror Stories and Lessons Learned | • | The Story of O (and P) |
| • | USCIS Service Heart Tips | ||
| • | Visa Definitions | • | Information technology'due south Well-nigh Time, Part I: A Chat with the USCIS |
| • | Case Study: Hiring New Artists Who Don't Have a Full Résumé of "Evidence" | • | Information technology's About Time, Function Two: A Conversation with the U.S. Dept. of Country |
| • | Instance Written report: Managing Foreign Artists with Multiple U.Due south. Bookings | • | Instance Written report: Hiring Artists from the Arab Earth |
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| • | Case Study: Large Book of Non-WesternArtists Presented | • | Case Report: An International Music Director Who Wants International Artists on his U.S. Stage | |
| • Instance Study: Helping Presenters in their Visa Crises | ||||
 | Social Media and the Performing Arts September 2012 Experts and marketers in and out of the performing arts reveal how to tap the power of social media for effective arts marketing, boosting your ticket sales and exciting your audiences. |
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| • | Tips, Tricks & Best Practices | • | Social Media & Ticket Sales: Introduction |
| • | Turn ON Your Smartphones | • | Social Media & Ticket Sales: Big Apple Circus |
| • | Organizing Social Media | • | Social Media & Ticket Sales: Cleveland Indians |
| • | Measuring Up | • | Social Media & Ticket Sales: Disney On Water ice |
| • | Example Study: eighth blackbird Tumbles frontwards with Tumblr | • | Best Practices: Facebook Marketing for Arts Organizations |
| • | Location, Location, Location |
 | Musicians and their Health Care June 2012 Musicians are "the elite athletes of the small muscles"—with the need to stay on top of their abilities during a long career. We looked into the unique wellness care needs and solutions faced by musicians and businesspeople in the performing arts. |
| • | Musician, Protect Thyself: A Few Ounces of Prevention | • | Injury Susceptibility Quiz |
| • | Heavy Lifting: Works of Notorious Notes | • | Attention Orchestra Management: You Can Aid |
| • | Clinics and Medical Practitioners: United states | • | Clinicians and Medical Practitioners: Outside the United States |
| • | Skillful News Case Study No. ane: Peter Oundjian's Personal Journey | • | Good News Case Study No. 2: Flutist Nora Shulman |
| • | Turning Operation Anxiety into Your Personal Best | • | Insuring Your Staffers: An Breezy Survey |
| • | Group Health Insurance Plans for Performing Artists* |
 | Competitions: Behind the Scenes May 2012 Key players across competitions provide straight answers to critical questions. Judges: what practice they actually look for? Presenters: does winning ensure bookings? Managers: do competitions matter? Winners: does winning make a difference? |
| • | Managers: Do Competitions Matter? (or non) | • | five Minutes with 4 Presenters: Win a Contest, Get a Gig? |
| • | Choosing the All-time Competition for YOU | • | Competitions with Deadlines between 15 May 2012 and xv May 2013 |
| • | What Do the Judges Look For? | • | Winners Tell Their Stories: Nadja Salerno-Sonnenberg |
| • | Winners Tell Their Stories: Christine Goerke | • | Winners Tell Their Stories: Joshua Weilerstein |
| • | Winners Tell Their Stories: Emanuel Ax | • | Winners Tell Their Stories: Ballad Wincenc |
| • | Winners Tell Their Stories: Nigel Armstrong |
 | Digital Media Marketing in the Arts April 2012 Packed with actionable information and all-time practices—example histories, in-depth interviews, tips, best practices and deep-dive reviews of successful digital marketing campaigns in the performing arts. |
| • | Tips, Tricks & Best Practices for Digital Marketing | • | Introduction to Five Instance Studies |
| • | Why Y'all Care About Pinterest (even if you don't know what it is) | • | Case Written report No. 1: Detroit Symphony Orchestra |
| • | On the Horizon: New Location-based Apps | • | Instance Written report No. ii: National Theatre of Scotland |
| • | Best Practices for Emailing in the Arts | • | Case Study No. 3: Kronos Quartet |
| • | Email Best Practices For the More Advanced | • | Example Study No. four: New York Philharmonic |
| • | Four Digital Campaigns That Worked (#1): Composer/Soloist Tracy Silverman | • | Case Study No. 5: Los Angeles Philharmonic |
| • | 4 Digital Campaigns That Worked (#2): Pianist Jim Brickman | • | A LOOK INSIDE: Opera House Arts' Digital Marketing (annual upkeep: $650K) |
| • | 4 Digital Campaigns That Worked (#iii): The Jerome L. Greene Performance Infinite—'Battle of the Boroughs' | • | A LOOK INSIDE: Cal Performances' Digital Marketing (almanac budget: $13M) |
| • | 4 Digital Campaigns That Worked (#iv): The New World Center WALLCAST Concerts | • | A LOOK INSIDE: Indianapolis Symphony Orchestra's Digital Marketing (annual budget: $27M) |
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Source: https://www.musicalamerica.com/news/index.cfm?categoryid=7