{"id":1145,"date":"2008-03-25T08:45:19","date_gmt":"2008-03-25T15:45:19","guid":{"rendered":"http:\/\/www.artsjournal.com\/artfulmanager\/wp\/2008\/03\/a_new_report_on_orchestral_eco\/"},"modified":"2008-03-25T08:45:19","modified_gmt":"2008-03-25T15:45:19","slug":"a_new_report_on_orchestral_eco","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/artfulmanager\/main\/a_new_report_on_orchestral_eco.php","title":{"rendered":"A new report on orchestral economics"},"content":{"rendered":"<p>Although American symphony orchestra&#8217;s and their professional association are clear leaders in gathering data on their operations, they&#8217;ve long been mysteriously quiet about publicly analyzing that data for its implications. Sure, we get gross attendance and wealth indicators (especially when they&#8217;re good). But the extraordinary educational and strategic power of this information, if placed in dispassionate and rigorous hands, has been either ignored, delayed, or perhaps even withheld from the public discourse.<\/p>\n<p>Which is why it will be so interesting to watch the reactions to <a href=\"http:\/\/www.gsb.stanford.edu\/news\/research\/flanaganorchestra.html\">a new study on orchestral operational data<\/a>, commissioned by the Andrew W. Mellon Foundation and released last Friday by Stanford University. The study connected a heavy-hitter academic, International Labor Economics and Policy Analysis Professor Robert J. Flanagan, with 17 years of financial data on America&#8217;s top-50 orchestras (provided, to their credit, by the League of American Orchestras) to see what one could learn from the other.<\/p>\n<p>Drafts of the resulting 77-page report (the final version available for <a href=\"http:\/\/www.gsb.stanford.edu\/news\/packages\/pdf\/Flanagan.pdf\">PDF download<\/a>, a <a href=\"http:\/\/www.therestisnoise.com\/2008\/03\/money-pit-bands.html\">quick overview from Justin Davidson<\/a> will give you the gist) have been rattling behind the curtains of the orchestra world for many months (Robert Levine offers <a href=\"http:\/\/theafmobserver.typepad.com\/abu_bratsche\/2008\/03\/chicken-littl-1.html\">one view of the process<\/a> in his blog here). Some were beginning to wonder if it would ever see the light of day.<\/p>\n<p>Early responses on-line have ranged from <a href=\"http:\/\/www.artsjournal.com\/ontherecord\/2008\/03\/the_imminent_death_of_orchestr.html\">politely dismissive<\/a> by the League of American Orchestra&#8217;s Henry Fogel to <a href=\"http:\/\/blog.oregonlive.com\/classicalmusic\/2008\/03\/department_of_doh_american_orc.html\">reactionary pot shots<\/a> from <i>The Oregonian<\/i>&#8216;s David Stabler. Robert Levine seems among the first to <a href=\"http:\/\/theafmobserver.typepad.com\/abu_bratsche\/2008\/03\/flanagans-fatal.html\">reflect and respond<\/a> to the study with something other than denial and dancing (although the category for his post suggests a more passionate bias). Let&#8217;s hope future responses approach the rigor and evidence-gathering that went into the original report. That is, after all, how we learn to foster and advance the art we love.<\/p>\n<p>I&#8217;m still working my way through the study, and will post more on its contents soon. But in the meanwhile, I thought some would enjoy the political and professional theater this particular spotlight will provide (you can watch it unfold through <a href=\n\"http:\/\/blogsearch.google.com\/blogsearch?hl=en&#038;q=flanagan+orchestra&#038;btnG=Search+Blogs\">this Google blogsearch<\/a>).<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Although American symphony orchestra&#8217;s and their professional association are clear leaders in gathering data on their operations, they&#8217;ve long been mysteriously quiet about publicly analyzing that data for its implications. Sure, we get gross attendance and wealth indicators (especially when they&#8217;re good). But the extraordinary educational and strategic power of this information, if placed in [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-1145","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/artfulmanager\/wp-json\/wp\/v2\/posts\/1145","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/artfulmanager\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/artfulmanager\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/artfulmanager\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/artfulmanager\/wp-json\/wp\/v2\/comments?post=1145"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/artfulmanager\/wp-json\/wp\/v2\/posts\/1145\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/artfulmanager\/wp-json\/wp\/v2\/media?parent=1145"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/artfulmanager\/wp-json\/wp\/v2\/categories?post=1145"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/artfulmanager\/wp-json\/wp\/v2\/tags?post=1145"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}