Build the Experience to Build the Art

themusedialogue — Wed, 15 May 2013 12:34:39 +0000

A case study in effective audience engagement, and building an experience.

A great deal of research has indicated that arts audiences are increasingly seeking an experience in their encounters with arts. That could include integrating a social experience with a performing arts program, or perhaps an enriched experience of interacting with artists. Whatever the case, the focus is on changing the nature of interaction between the audience and work, and between the audience and artists. In the case of classical music, there are many long-standing traditions in how work is presented, and Colin Pinto-Martin argues that it is time to change them.

In this article from The Muse Dialogue, Pinto-Martin says that innovation is long overdue, and especially innovation in providing a total experience for concert audiences. He writes, “Building a relationship outside of the concert hall is essential. If you want to reach people in their 20s, then you need to meet them where they are, which might mean a jam session in a club. If you want children, then you need to get into the schools more.” As he writes, you may even need to learn a lesson from some unlikely sources — a little pizza delivery might help too.

Colin Pinto-Martin offers some insight and heartfelt opinions in “Build the Experience to Build the Art” (click her to read full article).

All Dressed Down, Nowhere to Go. Do Orchestras and Young Musicians Have a Future?

themusedialogue — Fri, 05 Apr 2013 16:23:46 +0000

Colin Pinto-Martin, a percussionist currently in conservatory, wonders about his own future and the future of his art form. Conservatories across the country are producing highly skilled musicians, but if the art form has only declining audiences and declining interest, what does that mean for all those currently in training for the orchestras of tomorrow? Pinto-Martin considers the changes in audience, their waning familiarity with classical music and the growing informality of culture in general, and he sees tremendous uncertainty. The question then becomes what are the musicians themselves willing to do in order to change that future. He writes, “If we as musicians and artists don’t begin to adapt to a rapidly changing culture soon our craft will be as valuable as making buggies for horses.”

The Muse Dialogue offers some provocative thoughts and challenging questions from a young musician who argues that musicians themselves are partly responsible for the situation, and must take up responsibility for its future. Read on in “All Dressed Down, Nowhere to Go” (click here for full article).