A Study on Factors Affecting the Management Performance of Art Organizations in Classical Music Market

2017 ◽  
Vol 32 (4) ◽  
pp. 255-278
Author(s):  
Hyun－Su Kim ◽  
◽  
Hyeog－In Kwon ◽  
Yong－Seok Choi ◽  
◽  
...  
Keyword(s):  
Classical Music ◽  
Management Performance ◽  
Factors Affecting ◽  
Music Market ◽  
Art Organizations

scholarly journals Consumers on Critique: A Survey of Classical Music Listeners’ Engagement with Professional Music Reviews

2020 ◽  
Vol 3 ◽  
pp. 205920432093133
Author(s):  
Elena Alessandri ◽  
Dawn Rose ◽  
Olivier Senn ◽  
Katrin Szamatulski ◽  
Antonio Baldassarre ◽  
...  
Keyword(s):  
Online Survey ◽  
Classical Music ◽  
Contemporary Music ◽  
Music Criticism ◽  
Professional Background ◽  
Musical Engagement ◽  
Streaming Services ◽  
Music Market ◽  
Typical Consumer ◽  
New Generation

Music criticism has a long tradition as a leading agent in the classical music discourse. However, some people question its function in the contemporary music market. We explored the topicality of classical music critique by asking: Who reads professional reviews today? And what do readers expect from review? Through an online survey (English/German), we profiled the listening habits of classical music listeners ( N = 1200) and their engagement with professional reviews. Our participants were more actively engaged with music, but contrary to the ‘highbrow’ stereotype, not more highly musically trained than the general population. They consumed music and opinion sources in a variety of ways. Approximately two-thirds ( n = 741) of the participants had recently engaged with professional reviews, which were perceived as the most useful form of opinion, followed by short written commentaries and, lastly, ratings. A multiple logistic regression model suggested that the typical consumer of professional music critique was older with higher levels of musical engagement and education, had a higher inclination to purchase music and lower usage of streaming services, and had a preference for detailed reviews from traditional sources (e.g. newspapers). According to review readers, reviews should cover a variety of topics and offer evaluations underpinned with reasons. Reviewers should be constructive, open-minded, respectful, and well informed; their professional background was less relevant. Professional reviews should not necessarily provide a recommendation on what to buy, but rather guide listeners’ musical appreciation and understanding. Professional criticism still has an audience, although more so among older, musically educated listeners. Critics need to explore various channels in order to connect to a new generation of classical music listeners.

The Maestro’s Place in a Changing World

Dearest Lenny ◽  
2019 ◽  
pp. 74-79
Author(s):  
Mari Yoshihara
Keyword(s):  
United States ◽  
South Korea ◽  
Classical Music ◽  
The United States ◽  
Music Market ◽  
Government Interests ◽  
Changing World

When Bernstein arrived in Japan in 1979, the global landscape of classical music was undergoing major transformations. Japan and South Korea were important producers and consumers of classical music, as reflected in the Philharmonic’s itinerary. Japan’s seemingly unrivaled technological and industrial power was symbolized by Sony’s release of the Walkman, which made the company’s name a household word around the globe. CBS/Sony played a central role in Bernstein’s tour, marking a clear contrast with Bernstein’s earlier Japan tours, which were led by government interests. To navigate the changing classical music market, Amberson further corporatized its operations, shaping and guarding the maestro’s image while propelling his reach far beyond the United States.

Japan Beckons

Dearest Lenny ◽  
2019 ◽  
pp. 61-67
Author(s):  
Mari Yoshihara
Keyword(s):  
New York ◽  
Classical Music ◽  
New York Philharmonic ◽  
Music Market ◽  
Growing Economy

Leonard Bernstein’s tour of Japan with the New York Philharmonic in 1974 featured the heavy involvement of commercial entities, exemplified by the effective campaign by CBS/Sony to promote Bernstein’s recordings. With a sophisticated and rich classical music fan base and a rapidly growing economy, Japan was becoming a key market for Bernstein and the classical music market generally. Kazuko Amano, who was now settled in Tokyo after years of frequent relocation from one city to another, delighted in listening to Bernstein’s music again, as did her daughter Kikuko, who inherited her love of music and of Bernstein.

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