Palm Beach County Library Association的动态

??? West Midlands Takes the Stage: Blending Grime and Classical Music There’s something powerful about contrasting genres coming together to create something new. The City of City of Birmingham Symphony Orchestra (CBSO) teaming up with grime artists, including Lady Leshurr, for a concert at Birmingham Symphony Hall this April is a brilliant example of that. These kinds of collaborations aren’t new Pete Tong’s Ibiza Classics, DJ Spoony’s Garage Classical, and even the BBC’s Grime Proms in 2015 show that blending musical styles can break barriers and bring diverse audiences together. Now, it’s great to see the West Midlands taking the baton and leading the charge. With the West Midlands Combined Authority A investing ￡20 million into arts and culture, the region has a real opportunity to showcase its creative talent on a global stage. It’s not just about one concert it’s about making the West Midlands a hub for cultural innovation. Why this matters: It engages diverse audiences: Music has a unique way of connecting people across generations and backgrounds. ?? It celebrates regional talent such as Lady Leshurr, Jaykae, Creezon to name a few the West Midlands has legacy as a creative powerhouse. It inspires new ideas: These events push boundaries and open doors for future collaborations. How can we keep building on this momentum and turn these moments into lasting cultural legacies? Let’s explore how creative professionals can keep driving cultural innovation in the West Midlands. Source: Dudley News by Olivia Warburton https://lnkd.in/eNaH2Hpi #MusicInnovation #WestMidlandsArts #CreativeCollaboration #WMCA #CulturalFusion

How can music transform a community? The #SeattleBachFestival, founded by the visionary Tekla Cunningham, is demonstrating the possibilities and leading by example. Thomas May's article in the Seattle Times takes a meaningful dive into the entrepreneurial spirit that led to founding this new orchestra that focuses on bringing community together and paying fair wages for their artists. ?? https://lnkd.in/gpFhskjq

The New York Guitar Festival aims for 10x growth in audience size for 2025, as part of a post-pandemic strategic plan, made possible by increased funding from long-time donor the Augustine Foundation, and a new partnership with an iconic public space in midtown Manhattan.?We anticipate drawing more than ten thousand people this summer. Historically, the Festival’s low-cost and free events have attracted thousands of people to venues including The Metropolitan Museum, Carnegie Hall, 92NY and Brookfield Place, but like for so many arts organizations, building back after the pandemic has presented challenges. Co-founder/curator John Schaefer explains that: “many arts presenters have found that, post-pandemic, it’s tough to compete with the couch. But the NYGF has an advantage: lots of people have a guitar somewhere near that couch, and no matter what kind of music they like, we’ve got a guitarist - and probably more than one - for them.” We believe that music helps us imagine new possibilities for the human spirit. As for our next 25 years, we’ll continue our mission of bringing musicians and audiences closer, in NYC and beyond, through our international network of ‘sister’ festivals. Artist line-up announcements for the 2025 NYGF will be announced in the Spring. #guitar #festivals #music #nyc

Forvis Mazars supports National Concert Hall with new Ovation partnership ? Laura Magahy, Head of Public Sector Consulting (pictured right) with Maura McGrath, Chairperson of the National Concert Hall, Dublin at the announcement of Forvis Mazars’ new Ovation Corporate Membership of the #NCH.? ? Speaking at the announcement, Laura Magahy said: “The National Concert Hall is Ireland’s national centre for the creation and performance of music and home to the National Symphony Orchestra. It provides residence for a wide range of music organisations, including Chamber Choir Ireland, the Irish Baroque Orchestra, Music Network, Crash Ensemble and Music Generation. Forvis Mazars is delighted to support the creativity and participation which the National Concert Hall enables.” ? Robert Read, CEO of the National Concert Hall commented: “The National Concert Hall is delighted to welcome Forvis Mazars on board as a corporate member. As a national cultural institution for music in Ireland, our aim is to provide access, knowledge and appreciation of live music and performance. The support we receive from our corporate partners and sponsors is vital to ensuring we can deliver on our remit. We look forward forging this new partnership with Forvis Mazars and to collaborating with them in furthering support for the presentation and performance of live music for Irish people.“

If we’re being honest, when it comes to marketing in the classical music industry we all look and sound the same. Whether it’s the same copy-and-paste “delighted to announce” text, unimaginative event posters, or slide show season announcement videos, very little differentiates us from each other. This is something that affects the entire industry, from music students to international soloists, from amateur groups to professional orchestras. It’s the same template-style promotion that fails to showcase who we are, why we do it, or why it would be of interest to anyone. https://lnkd.in/e5zurjXN #Classical #ClassicalMusic #Orchestra #Opera #Audiences #Marketing

There are no rules on how to enjoy or interpret music! No wrong answers! At all! "There is a desire to follow perceived rules, to be correct and proper, and assume that program notes are the key to enlightenment and acceptance. However, people learn and listen differently so there is always a good percentage of people who feel a disconnect to a concert. Program notes, pre-concert talks, and educational videos cater to some, but certainly aren’t for everyone. The fact that so many people seek rules to attend a concert is restricting the very art that should be freeing them." READ MORE:

Energy, vitality, power & surprising warmth: Shostakovich's Symphony No. 10 from Roderick Cox at Royal Academy of Music with Academy Symphony Orchestra. A performance to remember & treasure. My review: https://lnkd.in/et5tEy_m

In 2007, one of the world’s greatest concert violinists conducted an experiment. Dressing in street clothes, he took his $4 million Stradivarus violin and busked in a New York subway. Despite his concerts attracting up to $1,000 a ticket, in the subway only 26 people dropped him change, with his total earnings amounting to a princely $52. The lesson is powerful: Our expertise or services are worth little on their own – what matters is context: where, how and to whom they are delivered. Under a spotlight in a concert hall, or in the background of a place people are only traversing to reach their destination? As a star performer, with months of marketing and media build up, or as a busker among dozens of others? To a theatre of music aficionados, or to a stream of commuters – 99% of whom would rarely listen to classical music? For business, this is positioning: Where → what category are you operating in? Education vs consulting vs agency, etc. How → how are you presenting yourself? High contact vs low effort, premium vs affordable, personalised offer vs proven system, etc. Who → what are the industries/types of business or consumers who place high value on what you offer? These questions may seem basic. But the answers are anything but. If you want to thrive and grow this year, take some time to review your positioning – where, how and to whom? It will make sure you’re operating in the concert hall rather than the subway.

Tasmanians: TSO wants to talk to your teenagers. If you know anyone who might be interested, send them our way!