Drew McManus on the orchestra business.
Originally, the plan for this week was to wrap up the thread we’ve been exploring via diversity within artistic matters by taking a deep dive into the intersection of diversity and musician complements. But where’s the fun in having your week unfold according to plan? Consequently, we’re going to pivot a bit by using today’s post to introduce the topic, solicit your feedback, then follow through next week. In this context, …
According to the site’s metrics, there’s been a sharp uptick in the number of incoming visitors arriving via the search query “difference between strike and lockout.” Historically, cross tabulating search queries with landing pages is a good way to help verify industry scuttlebutt. For example, if I’ve been hearing about labor unrest at a particular orchestra, I’ll create a Google Analytics custom alert or dashboard module to let me know if …
Yesterday’s post examining the ratio of programming between living/deceased, male/female, and ethnicity for the 2017/18 season has generated a good deal of discussion throughout social media. Consequently, I’m curious to know what readers think when it comes to diversity in programming. In order to help keep things straightforward, please consider the questions within the context of mainstage programming only, so nothing from pop, chamber, etc. We could easily continue down this …
Hot off the heels of his Women Composer Database Project, composer and arts administrator Rob Deemer has been pouring through much of the recently released programming data for the 2017/18 season to see how often US orchestras are programming works from composers who aren’t dead, white, or male. I have been concerned for years about how narrow orchestral programming has been, especially in the professional arena,” said Deemer. “Inspired by Brian …