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This Week’s Review of Audience Insight Stories

April 15, 2018 by Douglas McLennan Leave a Comment

This Week’s Insights: How streaming is changing music… The selfie-driven museum… The data-driven bestseller… How museums’ purposes are being redefined… The first five-billion-view video

  1. How Streaming (And Its Data) Is Transforming Music: Now that the music business (and musicians) have granular data about how (and what) people are listening to, we can also see how the information is changing music. Not just how finding and choosing have changed, but how titles are changing, how types of music being made are changing, how artists are changing. Streaming reflects what people will actually listen to on their own, when provided with infinite choices that aren’t entirely constrained by what radio programmers, retailers and record company executives put in front of them. With streaming services, “it’s more data-driven, and more give-the-people-what-they-want-driven, because it’s so limitless.”
  2. A Museum’s A Museum Of Course Of Course (But…): We live in a selfie world. Now selfies are driving a new “museum” model. Or at least they’re calling themselves museums. They’re actually attractions dressed up with the title. And they exist because they offer opportunities for visitors to take pictures of themselves in front of interesting visuals. The design of selfie-driven “museums” seems to align with other experiential selfie spots like Color Factory, 29Rooms, and Dream Room. They revolve a highly successful business model: sell tickets for $35 to people itching to Instagram themselves, then immerse them in hyperpigmented landscapes funded by corporate sponsors. So are there lessons here for traditional museums?
  3. What Data Tells Us About What Makes Bestselling Books: “Approximately the same amount of hardcovers are being sold today as they were in past years,” writes a research team led by Albert-László Barbási. “The increasing availability of books in the digital format has [had] no influence on hardcover sales.” OK, but what types of books typically take off? Barbasi and his colleagues report they tend to be works of fiction or biographies/memoirs.
  4. The Evolving Purpose Of Museums (As Defined By Visitors): “‘The right function of every museum,’ wrote John Ruskin, the influential 19th-century art and social critic, ‘is the manifestation of what is lovely in the life of nature, and heroic in the life of men.’ Museums of the 21st century have moved on a bit. … They are also ‘destination’ enterprises, with permanent collections and special exhibitions, cafes and shops trying to attract as many visitors as possible in an age of global tourism. … As leading museums compete for crowd-drawing exhibits, and try to balance commercial interests and cultural diversity, visitors are bearing a rising proportion of the cost.”
  5. Hyper-Inflated Stat Of The Week: It’s five billion – yes with a “b”. That’s the number of views YouTube’s most-viewed video passed last week. The official video of the catchy Spanish-language track, featuring Puerto Rican rapper Daddy Yankee, on Wednesday surpassed 5 billion views on YouTube — becoming the first video in the platform’s history to hit that watermark. In an increasingly stats-driven world, how many views does it take to be meaningless information?

 

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WALLACE FOUNDATION AUDIENCE RESOURCES

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WORLD MUSIC/CRASHarts Tests New Format New Name to Draw New Audiences
This article and video are part of a series describing the early work of some of the 25 performing arts organizations participating in The Wallace Foundation’s $52 million Building Audiences for Sustainability initiative. Launched in 2015 in response to concerns about a declining audience base for a number of major art forms, the endeavor seeks to help the organizations strengthen their audience-building efforts, see if this contributes to their financial sustainability, and develop insights from the work for the wider arts field.


Think Opera’s Not for You? Opera Theatre of Saint Louis Says Think Again
Analysis showed that while the company’s core audience bought several tickets each year, even tending to schedule their May and June around opera season, newcomers behaved differently.




Can the City's Boom Mean New Audiences for the Seattle Symphony?
In line with the community’s spirit of innovation, Seattle Symphony is using audience research to help target and woo recent transplants.





Denver Center Theatre Company is Cracking the Millennial Code...One Step at a Time
The average single-ticket buyer at the Denver Center Theatre Company is 50 years old and the average subscriber is 63, despite the fact that millennials, a group often defined as people born between 1981 and 1997, compose the largest age group in Denver. Since 2010, the Denver Center has been engaged in an iterative process of experimentation, evaluation and refinement to help reverse this trend.



The Party’s Still a Hit: The Isabella Stewart Gardner Museum Builds on its Millennial Momentum

That ongoing research has revealed areas to adjust, as well as successes. Soon after the re-opening, for example, the team partnered with a local music school, taking the opportunity to hold 45-minute concerts in Calderwood Hall. But in part through survey results, it realized the approach didn’t work. [read more]



Austin Ballet’s “Familiarity” Problem And How It Learned To Connect With New Audiences



“Encouraging people to attend the ballet more often was less about increasing their familiarity with productions and more about bridging an uncertainty gap. “Familiarity is about information,” notes Martin, “whereas uncertainty about how an experience will feel is much more personal. You can give somebody a lot of information but that’s not necessarily going to reassure them that they’re going to belong in that audience.”

How the Contemporary Jewish Museum
Expanded its Reach



​​​The Contemporary Jewish Museum in San Francisco moves to a larger space and secures a nine-fold increase in family visitors of all backgrounds.

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