Symphonies and Community Engagement:
Analysis of Organizational Culture in the Performing Arts
Erin Gore
Arts Administration Graduate Student
University of Oregon, Eugene
December 22, 2008
ABSTRACT
This study examines how interactions between the artistic and administrative staff of a
symphony orchestra affect the quality of community engagement. The Eugene Symphony, a
professional orchestra located in Eugene, OR will be the site of a case study. Literature suggests
that the measure of a symphony’s community engagement is reflected in the participation of all
members of the organization; including administrative staff, artistic administration, board, and
musicians. The connection of a symphony’s organizational culture with community engagement
is examined. A case study of the Eugene Symphony will help identify models of organizational
structure and communication which could be useful for symphony administrators in enhancing
community engagement initiatives.
KEYWORDS:
-
Audience Development
Community engagement
Symphony Artistic Programming
Organizational Culture
Audience Attendance patterns
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Symphony orchestras operate in a shifting and complex environment effected by factors
within the organizational culture as well as the external environment. For a symphony to be fully
immersed within a community, strong methods of audience development must be in place and
embraced by the symphony administration. The current research lays the groundwork for a case
study of the Eugene Symphony through exhibiting ‘best practices’ found in literature focusing on
management of symphony orchestras. Approaches of community engagement as well as artistic
programming will be discussed. The main purpose is to evaluate the organizational structure of
symphony orchestras and determine what methods exist for enhancing community engagement.
The importance of including all members of a symphony in programmatic decisions and
subsequent audience development is the primary focus of this research.
Symphony Structure
The complex organizational structure of symphony orchestras yields many differing
managerial cultures and dynamics. Administrators of an orchestra must balance the needs of the
multiple sections of the organization “while at the same time establishing and cultivating a
rapport with the audience” (Lapierre, 2001, p. 7). The importance of a nonprofit organization’s
mission is also reiterated throughout the literature. Audience development and community
engagement practices should reflect a symphony’s mission and promote its core values.
Orchestras benefit from the sense of tradition and strong attachment that many people have for
symphonic music. To truly create community however, a symphony orchestra must reach out to
all types of audiences, not just those who have a history with the symphony. In programming,
“One of the biggest challenges in the performing arts business is understanding how to balance
creating a great artistic product with audience development and accessibility” (Bronstein, 2004,
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p. 25). Programming and artistic decisions can play a critical role in advancing the mission of a
symphony, helping to further community engagement.
Programming is the most deliberated aspect of symphony management as it is the sole
product of the orchestra. The dichotomy between fiscal responsibility and producing high
quality, varied programs can create management dilemmas. For all arts organizations, “the
tension between making art and making money is ever-present” (Moore, 2004, p. 43).
Symphonies must find a balance to their artistic and administrative sides, which do not often
collaborate with one another. Gidwitz (2004) refers to the inherent tension found between the
artistic and business objectives of symphony orchestras. Explanations for this tension have not
been forthcoming, as Castañer (2004) notes, “although organizational literature suggests several
causes for this management-professional conflict, few solutions have been advanced” (p. 18).
This is an area which requires more research and exploration into models of organizational
structures which can help symphony administrators form more cohesive organizations. Ideal
programming should reflect the values of a community while also advancing the musicians’
artistic ability and creating a sustainable organization.
Many sections of a symphony are involved in the conception and production of concerts,
which making it vitally important for all departments to be involved in programmatic decisions.
Similarly, research and scholarship on symphony management suggests that it is crucial for the
entire organization to be involved if audience development is to succeed (Wolf, 2006). Morison
and Dalgleish (1987) note that, “the creation of lively, innovative, substantive new programs
requires a close and understanding partnership between artistic leaders and artists on the one
hand and those who promote, manage, govern and fund the arts on the other” ( p. 104). The
organizational structure must also support community engagement through programming. As
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learned in the Knight Foundation’s study, The Search for Shining Eyes, “transformational change
in orchestras is dependent on the joint efforts of all members of the orchestra family – the music
director, musician, administration, and volunteer leadership and trustees” (Wolf, 2006, p. 49).
Therefore, the time and resources must be available to a symphony willing to undertake
substantial audience engagement programs. The involvement of the entire organization along
with community members in creating meaningful programs is a key aspect of audience
development and community engagement for symphony orchestras.
Audience Participation as Community Engagement
While creating community and adhering to the mission, symphony orchestras often rely
on community members’ sense of social capital as motivation for attending a concert. The social
ties among audience members as well as personal connections to the organization can create
social capital and enhance community engagement. Social capital is a rather ephemeral concept
which is entirely dependent on the cultural and social values of a community. Bridger and Alter
(2006) bring a fairly cohesive definition: “’social capital’ calls attention to the fact that civic
virtue is most powerful when embedded in a dense network of reciprocal social relations” (p. 7).
Symphony orchestras can utilize the idea that social capital is dependent on reciprocal
relationships to encourage community engagement throughout the community. Additionally,
“the characteristics of social networks are crucial to the development of community capacity”,
(Backman and Smith, 2000, p. 2). Social networks can be found in many areas of symphony
community engagement. Therefore, symphony orchestras must not only reach out to a wide
audience base, but create opportunities for quality interactions with community members.
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DiMaggio (2004) has done an extensive study of trends in arts attendance and asked the
question of whether social capital still remains a defining factor of audience participation. After
analyzing data from Surveys of Public Participation in the Arts from 1982, 1992, and 2002, he
concluded that, “the arts remain central to cultural capital, but that change is occurring in the
composition of artistic cultural capital in response to societal trends towards multiculturalism
and greater inclusivity” (DiMaggio, 2004, p. 190). DiMaggio’s research concluded that the highculture arts which are rooted in canonic repertoire from 19th century Europe, mainly classical
music and ballet, are noting the largest downturn in arts attendance. This has strong implications
for symphony orchestras in regards to programming choices. The use of innovative programming
may be a key aspect of symphony audience development and subsequent community
engagement activities.
Discovering new administrative models that increase organizational involvement in
community engagement activities is the cornerstone of the current research. Some studies have
exemplified the same goals, the main example being The Search for Shining Eyes. In the multiyear study, several orchestras focused audience development and community engagement
initiatives. Based on the findings from its Magic of Music program, The Knight Foundation
proposed a few new, as well as modified organizational designs for orchestras. It was determined
through the study that strengthening internal relationships, especially enhancing the role of
musicians, was a critical element to community engagement activities. In fact, there was a great
overarching emphasis put on the involvement of musicians. At the Brooklyn Philharmonic for
instance, “musicians played a major role in the planning and delivery of audience engagement
activities” (p. 37). Lessons learned from the study regarding the relevance of symphonic music in
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communities as well as the importance of the mission and programming form a solid basis for
future research and case studies.
Conclusion
Following audience preferences and behaviors is an essential activity which assures an
orchestra’s future sustainability. It also demonstrates an ability to adapt and change to the current
conditions and audience desires. In addition, audience development and community engagement
can be highly successful when all aspects of a symphony organization communicate and work
efficiently with each other. Throughout the artistic process, the entire organization is utilized in
creating a final product in the form of a concert or series. In an administrative sense, “the
vertically organized businesses of the past, with their ‘command and obey’ hierarchies and sharp
divisions of responsibilities, have not proven effective in today’s more competitive world” (Starr,
1997, p. 85). New administrative models for performing arts organizations will be useful in
formulating sustainable audience development practices.
Audience development for arts organizations comprises a wide range of activities and is
much more than simply attracting audience members to a concert. The goal of symphony
orchestra audience development is to maintain the appeal for those who are frequent attendees or
subscribers while simultaneously reaching people who do not have a history of symphony
attendance. Establishing new administrative formats as noted in the literature will be integral in
formulating recommendations for future ‘next steps’ of symphony management. Audience
development is also at the core of community engagement, and can be suggested as an
overarching framework to encompass all symphony outreach activities. It is a vital tool which
brings together community members from a variety of backgrounds and encourages appreciation
for orchestral music.
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