orchestras

#TBT: The Web-Based Arts Experience

#TBT: The Web-Based Arts Experience

When discussing the future of the arts, many professionals and studies have stated that the manner in which audiences consume arts and culture is rapidly changing--and has already changed.  The Internet has been the most notable new space for consuming culture, providing both opportunities and challenges through widespread and instant information sharing. Over the past several years, AMT Lab has documented the various web-based arts experiences that are becoming readily available--usually including lessons and best practices that managers can take away for their own practice.  This week’s TBT rounds them up into a user-friendly toolbox of online arts experiences of various artistic mediums.

Brave New World: Symphony Orchestras & Online Experiences

Brave New World: Symphony Orchestras & Online Experiences

Just what is an online audience? How does it differ from an offline audience? How does participating in the arts through electronic media and online channels relate to the attendance of arts events? Moreover, exactly what (and how) are symphony orchestras using these digital technologies to engage with individuals around the world?

A Virtual Orchestra

A Virtual Orchestra

The Australian Chamber Orchestra (ACO) has teamed up with Sydney digital media company Mod Productions to produce a new interactive “virtual orchestra” that is breaking down audience barriers in the music world. The resulting audio-visual installation, “ACO Virtual,” has created the means to bring the Orchestra outside the concert hall and into spaces where the ACO may not perform.

Research Update #2: Creating Online Audiences for Orchestras

Research Update #2: Creating Online Audiences for Orchestras

Last month, I introduced the Berlin Philharmonics’ Digital Concert Hall as a best-practice example of creating online audiences by a symphony orchestra. Indeed, we can find orchestras worldwide reaching out for audiences beyond the walls of a traditional concert hall. So let us inspect three of these orchestras—the Detroit Symphony Orchestra, the Sydney Symphony Orchestra, and the Philharmonia Orchestra (UK)—and have a closer look at some of the tools they use, how these tools are being implemented, and the resulting opportunities they create.

 

Research Update: Creating Online Audiences for Orchestras

Research Update: Creating Online Audiences for Orchestras

As a frequent concertgoer and prospective arts manager, I am intrigued by the question of how to create online audiences for symphony orchestras. What does it mean to create such an audience? And moreover, how does an online audience for an orchestra differ from the audience that comes to the concert hall? Or does it?