Starting last season, L.A. Opera incorporated "more of an on-demand pricing structure," according to L.A. Opera public relations director Gary Murphy. In other words, rather than having fixed prices, ticket prices are now based on an opera's popularity -- much like a rock concert. The downside is that "greatest hit" types such as Carmen and La Bohemeare likely to be priced significantly higher, especially if you wait to buy your tickets. On the plus side, tickets are slightly less expensive for more obscure or less popular operas.
Bücher, Museen, Konzerte oder Theatervorführungen für viele Europäer sind das mittlerweile exotische Dinge. Die Statistik zeigt: Am Geld liegt es nicht. Das Interesse der Europäer an ihrem kulturellen Erbe erlischt.
Stolpersteine sind aus Beton gegossene Steine mit einer Messingplatte, auf der zu lesen ist: „Hier wohnte...“, dann Name, Geburtsjahr und Datum und Ort der Deportation oder der Ermordung eines Menschen.
"Paul Irwin, Steve Ince and Tim Clague joined us to talk about Transmedia and how it's evolving the choices of writers. Firstly, says Tim, “Transmedia WTF? Right!” and it’s true that a lot of people are still unsure of the differences between transmedia, crossmedia etc.. and the opportunities transmedia offers both for the creators and for the audience reached can often be overlooked. The truth is that story worlds created to be explored in different non-linear ways can reach people on a deeper level and may even be providing platforms for social change. In a non linear session with questions being thrown in and back out between the speakers and delegates we explored some of the ways transmedia can be utilised. It’s largely about interactivity with an audience and you look to reach them via every avenue of communication. While the writing is one key element having technology available to implement the delivery is another and this can come at varying levels and costs. It doesn’t have to be expensive. Supportive software such as Conducttr (or even conductor) for email management can be set up to offer different tailored responses as people interact with something that’s perhaps othewise quite static, like a website. Software that makes management of a conversation that doesn’t require your manual investment beyond set-up can be a very useful tool to further engage an audience for yourself and to provide a more inclusive immersion for them in your story. Software can also give you the tools to manage an audience as it grows..."
The 8th Annual Conference of the Fachverband Kulturmanagement focuses on the interdependency between financing systems and the production and reception of cultural goods and processes. Artistic practice and cultural ...
Claiming that we don’t care if our music is heard, engaged with, deeply felt is what—most of all—is shrinking audiences for contemporary music. The idea that "the audience does not matter as much as "the music," and that considering the audience as an essential part of music composition is tantamount to pandering...
Via the listener
By Leonard Slatkin. The most important question American orchestras face is: How do we reach new audiences? You all know the complaints: "The average age is increasing." "Classical music has little relevance today." "The economic market cannot sustain an orchestra." The list goes on, but in my hometown, we have found a way to buck the trend. After a six-month strike, during which many in the industry wrote off the Detroit Symphony Orchestra as yet another casualty in the Motor City, we have bounced back with new initiatives that have helped to address these concerns. One method in particular has been a boon for us: Internet broadcasting of virtually all of our subscription concerts. ...
Via the listener
Christian Hennerfehr's insight:
Ich glaube nur nicht, dass es finanziell viel bringt....
Bankrotte Häuser, ausgesperrte Orchester und fehlende Sponsorengelder in den USA, aber stabile Nachfrage in Deutschland: Die Krise der Klassik ist mental. Denn nichts ist größer als Untergangsfreude.
Christian Hennerfehr's insight:
Ist es nicht ganz normal, dass Kulturbetriebe kommen und gehen? Das heißt aber nicht, dass damit auch das Ende der Klassik eingeläutet wird, ganz im Gegenteil. Neue Kräfte tun sich vielleicht leichter, mit neuen Ideen zu reüssieren.
Seit dem 01.08.2013 gilt in Deutschland das Leistungsschutzrecht (LSR) für Verlage und all jene, die eigene journalistische Texte im Internet für wirtschaftliche Zwecke vermarkten, wie es auch Kultureinrichtungen oder Kulturmanagement Network tun.
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