Targeting university students in audience development strategies for opera and ballet

Tajtáková, Mária; Aranda, Daniel Arias

doi:10.1080/02642060701842191

Cited by 18 publications

(17 citation statements)

References 3 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…Audience development is a proactive process of cultivating and growing long-term relationships by engaging, educating, and motivating diverse communities to participate in a creative, entertaining experience (Walker-Kuhne, 2001). Besides educational activities (Kawashima, 2000) and relationship-building techniques (Walker-Kuhne, 2001), marketing efforts by theaters seem to be an appropriate approach to developing their audiences (Hill, O'Sullivan, and O'Sullivan, 2003;Tajtáková and Arias-Aranda, 2008). "If I take a very modern play, for example, and have ten people supporting me to bring people into the theater, it can be successful.…”

Section: Developing the Audiencementioning

confidence: 98%

Stakeholder management and program planning in German public theaters

Boerner

Jobst

2011

Nonprofit Mgmnt & Ldrshp

View full text Add to dashboard Cite

Taking the example of a German public professional theater, thisA CCORDING TO EMPIRICAL RESEARCH, organizations that effectively manage their stakeholder relationships outperform those that do not, whether in the for-profit sector, the nonprofit sector, or the public sector (Roman, Hayibor, and Agle, 1999; We gratefully acknowledge the collaboration of Tobias Wettemann, who contributed in conducting the interviews. We also benefited greatly from the insights of four anonymous reviewers.

show abstract

Section: Developing the Audiencementioning

confidence: 98%

Stakeholder management and program planning in German public theaters

Boerner

Jobst

2011

Nonprofit Mgmnt & Ldrshp

View full text Add to dashboard Cite

show abstract

“…Por otro lado, el estudio de las motivaciones de las audiencias han tratado de descubrir las motivaciones de los comportamientos de las audiencias. Los resultados sugieren que las motivaciones pueden resumirse en tres: (1) el hedonismo social, (2) el estímulo intelectual y (3) el estímulo emocional (Bouder-Pailler, 1999;Tajtáková & Arias-Aranda, 2008;Dobson, 2010).…”

Section: El Estudio De Las Audiencias De La óPeraunclassified

“…Otros investigadores, ademas, han estudiado las barreras que los nos asistentes a la ópera esgrimen para justificar su comportamiento: (1) miedo de aburrirse, (2) desconocimiento de la ópera, y (3) ausencia de interés en la ópera y el ballet entre sus conocidos (Tajtáková & Arias-Aranda, 2008).…”

Section: El Estudio De Las Audiencias De La óPeraunclassified

“…Los resultados de los estudios acerca de las motivaciones de los asistentes a la ópera parecen tener una equivalencia con las condiciones, estrategias y experiencias que hemos descrito; por ejemplo, el interés en ver una representación en particular o tipo de ópera y la motivación por salir con amigos y la familia (Tajtáková & Arias-Aranda, 2008), la experiencia emocional, intelectual y social (Bouder-Pailler, 1999), y la sensación de inclusión y participación en un evento en vivo (Dobson, 2010), todo ello es algo que la estrategia de erección de barreras de conducta reservó para unos pocos privilegiados (Levine, 1988;McConachie, 1988;DiMaggio, 1982).…”

Section: Discusión Y Conclusionesunclassified

See 1 more Smart Citation

La construcción social del disfrute de la ópera: Condiciones, estrategias y experiencias

Sintas¹,

Cuenca²,

Álvarez³

2015

La Construcción Social De La Experiencia De Ocio Cultural

View full text Add to dashboard Cite

“…Another strand of literature has highlighted the importance of audience segmentation and development strategies for different musical genres (e.g. Oakes, 2003a;Tajtakova and Arias-Aranda, 2008), considering the inevitable conflict between product-orientated and market-orientated musical philosophies.…”

mentioning

confidence: 99%

Ubiquitous music

2014

View full text Add to dashboard Cite

The task of guest editing this special issue of Marketing Theory entitled Ubiquitous Music proved to be a fascinating learning experience that conveyed to the guest editors not only the authors' depth of theoretical understanding but also a sense of their enjoyment and intellectual curiosity with the process of musical consumption. Although it was a challenging task to reduce our longlist and subsequent shortlist of manuscript submissions to just four published articles, our eventual decision was unanimous.Kerrigan, Larsen, Hanratty and Korta's article uses a diary study of seven runners, interviews prior to and shortly after diary completion, along with netnographic data from an online running forum to examine the role of music for the amateur running community. Their analysis of the musicalisation of running contributes to academic knowledge regarding the nature of hedonic and experiential consumption. They discuss how music elicits emotions for the runners that allow them to create distracting and inspiring soundscapes. Three emergent themes from their research include (1) musical technologies of escape, (2) music, meaning and escape and (3) music, hedonic consumption and escape.Eckhardt and Bradshaw's article considers how the licensing of music to advertising may be regarded as the ultimate sellout by musicians and fans. An alternative perspective would view such licensing as a great opportunity for musicians to gain access to mainstream markets. Their discussion of music in advertising identifies the cultural clash between the Bohemian ideology of music as a revered art form and the commodification of musical production. It uses the marriage metaphor to explore the inherent tension in the relationship between music and advertising,

show abstract

Targeting university students in audience development strategies for opera and ballet

Cited by 18 publications

References 3 publications

Stakeholder management and program planning in German public theaters

Stakeholder management and program planning in German public theaters

La construcción social del disfrute de la ópera: Condiciones, estrategias y experiencias

Ubiquitous music

Contact Info

Product

Resources

About