Marketing Plan

MARK 5340 Marketing Strategy Class

UT Arlington

Summer 2005

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Table of Contents

Executive Summary ............................................................................................................................. 3

Introduction.......................................................................................................................................... 5

Mission .................................................................................................................................................. 6

Ten-Year Strategic Plan ...................................................................................................................... 6

Objectives ............................................................................................................................................. 6

Marketing Objectives .......................................................................................................................... 7

SWOT Analysis .................................................................................................................................... 8

Target Market Strategy .................................................................................................................... 18

Segment 1: Sophisticated Active Audience ...................................................................................... 19

Segment 2: Casually Involved Active Audience .............................................................................. 20

Segment 3: Sophisticated Low-Frequency Alumni......................................................................... 21

Segment 4: Interested Single-Ticket Buyers and Ghost ................................................................. 22

Positioning Strategy ........................................................................................................................... 23

Product Strategy ................................................................................................................................ 25

Pricing Strategy ................................................................................................................................. 38

Current DSO Distribution ................................................................................................................ 40

Promotion Strategy ............................................................................................................................ 42

Sources ................................................................................................................................................ 59

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Executive Summary

The Dallas Symphony Orchestra has an opportunity to become one of the Top Five orchestras in the country within the next few years. In order to achieve this goal, the DSO needs to have a clear understanding of its current situation, leverage its strengths and take advantage of opportunities. Currently the DSO is viewed as a “really good orchestra that plays classical music in a great hall.” It benefits from a balanced budget and a well-established budget-to-endowment ratio. It enjoys good labor relations with its musicians and ranks the highest of any orchestra in the Metroplex. The DSO has a core of dedicated patrons who attend a performance to lose themselves in music for an evening. It is blessed with the grandeur of the Meyerson Symphony Center and a troupe of passionate staff members. The DSO is currently challenged with declining attendance. It is an organization in leadership flux, both in the marketing department and in the orchestra. In order to deliver a product that will appeal to a larger audience, the DSO needs better patron information and a monitoring system in place to track patron satisfaction. The DSO has remained a fairly traditional symphonic organization and suffers from weaknesses in internal and external communication. Today’s patrons have limited leisure time and a variety of leisure options. The DSO is confronted with a difficult query, but it has the tools to increase its patron attendance and donor base to become the highly rated symphony it strives to be. In order to appeal to a much wider market, the DSO needs to find a balance between artistic integrity and marketing goals. It needs to become innovative and take risks and also needs to take advantage of technological advances. More importantly, it needs a charismatic music director and a team of involved musicians who will assist in accomplishing this feat.

There are a few key words that describe the plan within.

RESEARCH, COMMUNICATE, INNOVATE, EDUCATE, CONTROL

We recommend that the DSO:

• Establish clear and specific marketing goals for the next few years, share the plan with the entire organization, and create open communication within all departments

• Conduct research to find out who is, and who could be, a DSO patron. It should focus on the Initiators within the target group

• Focus not only on its past buyers but also try to expand its patron base due to changing demographics and changing entertainment preferences

• Hire a conductor who is not only musically talented, but also is an innovative and charismatic leader

• Experiment with new programming and monitor patron reactions closely

• Increase culturally and demographically diverse program offerings

• Seek out and utilize strategic partnerships both corporate as well as community

• Educate patrons to understand music and not just enjoy performances

• Research monitor patron price sensitivities and adjust price packages accordingly

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• Leverage the website, which is often the first touch-point to the community

• Initiate creative and original promotional campaigns, and monitor successes and failures

The DSO is equipped with many resources and the leadership to take advantage of the opportunities laid out within this report. Continuous evaluation and adjustment will be necessary in order to achieve stated goals. This plan will help the DSO be recognized as the “Premier Cultural Experience Worth Sharing.”

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Introduction

The Dallas Symphony Orchestra is one of the premier symphony organizations of the Dallas/Fort Worth area, with over 100 years of rich musical history. It has and continues to attract distinguished music conductors over the years. The current music conductor, Andrew Litton, has been leading the DSO orchestra for the past thirteen years and was instrumental in significantly raising the orchestra's international standing. The internationally acclaimed Morton H. Meyerson Symphony Center has been the home for the DSO for the past sixteen years. In the last few years, the DSO has been witnessing a continual decline in its subscription sales, and in overall attendance at concerts. This decline can, in part, be attributed to the newly opened Bass Hall in Fort Worth. The greater part of the decline is undoubtedly due to changing demographics, lifestyles, and entertainment interests among Metroplex residents. In spite of its responsible financial planning, the DSO is facing some challenges to increase revenues. In addition to a falling patron base and decreasing revenues, the DSO is facing the departure of Andrew Litton within a year. The Marketing Strategy class at UTA was presented with the challenge of devising a marketing plan for the Dallas Symphony Orchestra to address its declining attendance and assist it in becoming one of the top five symphony orchestras in US within ten years. The project was completed over the duration of two months, and was divided into specific marketing strategy pieces. This project was designed in the following sequence:

• Analyze current situation of the DSO and its environment

• Understand the DSO market and customers

• SWOT analysis

• Plan segmentation, targeting, and positioning

• Develop marketing strategies and programs o Product o Price o Distribution o Promotion

• Support the marketing mix o Implementation o Metrics o Internal marketing plan

To follow this project sequence, information was collected through secondary research, material provided by the DSO, and primary research conducted for the Impromptu program. The main body of the report begins with a SWOT analysis to develop marketing strategies and programs. The remaining sections are included in the appendix.

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Mission

The Dallas Symphony Orchestra’s (DSO) mission is To Entertain, Inspire, and Change

Lives Through Musical Excellence. The values at its core include: Uncompromising

Excellence, Teamwork, Every Concert an Event, A Community of Passionate Music

Lovers Making More Music Lovers, Risk-taking and Innovation, Fiscal Responsibility,

and Integrity.

Ten-Year Strategic Plan

The DSO, led by Dr. Fred Bronstein, has created the Bold Plan for Greatness, a ten-year strategic plan to take the orchestra and move it to the very top tier of American orchestras, from the ranks of the top fifteen to the top five. This all-encompassing strategy consists of three major goals. To accomplish the first major goal, the DSO is engaging in an international search for a new music director, an exciting growth opportunity. The second goal is to become a key driver in making Dallas a world-class city and major cultural center, with the DSO as a landmark. The third major goal is to be uniquely rooted and ever-present in the community. Objectives

In Dr. Fred Bronstein’s article An American Orchestra, many critical objectives are noted in areas that will help the DSO fulfill its mission, reach its major goals, and achieve the Bold Plan for Greatness:

• Planning for Success

• The Art of Programming

• Marketing: Ensuring a Successful Season

• The Box Office as Customer Service Center

• The Importance of Fund Raising

• Good Governance

• Community Connections

• Creating the Shows That Stand Apart: The Art of Strategic Partnership

• The Costs of Putting on the Show

• Tightening the Belt: The Arts Business in Economic Downturns

• Leadership: Keeping the Edge

• Planning for the Future

• An Open Dialogue

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Marketing Objectives

According to the interim Vice President of Marketing, John Hamann, several key Marketing operating initiatives have been agreed upon:

• Exceed budgeted ticket sales levels for 2005-2006 season

• Implement “Every Concert an Event” in planning, communication, and promotion, beginning with the first concert series in September

• Implement a web-based communications strategy incorporating a video-based website by September and at least one e-mail per week by October

• Make market data an integral part of event planning, pricing, new product development, and strategic planning – this includes conducting at least one research study per month

• Integrate and improve all marketing communications—on going

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SWOT Analysis

Before devising any effective marketing plan, it is imperative to assess the position of the organization in the market. It can then build up the plan to utilize the strengths and opportunities present and strategies to tackle the weaknesses and threats. The following SWOT analysis provides a quick look at the strengths and weaknesses of, and the opportunities and threats present to the DSO.

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Strengths

• Talented musicians and conductors

• Patron Service Center

• Meyerson Symphony Center

• Favorable endowment to budget ratio

• Good fiscal responsibility

• Core of dedicated patrons

• Experienced and passionate staff

• Good labor relations

• Commitment to the mission statement

• New ticketing system

• Volunteers

• Education Programs

• Perceived as “A really good orchestra that plays classical music in a great hall”

Opportunities

• 24% of adult population interested in classical music but do not attend regularly

• Strategic alliances/corporate sponsorships

• Search for new music director

• Initiator programs

• Downtown Dallas workforce and residents

• Technological advances for attracting patrons

• High school and college students

• Innovative marketing mix opportunities

• Dallas tourism

• Benchmarking successful orchestras

• Donors of competitors

• Growing Hispanic market

• Capitalize on wealthy Collin and Denton county residents

• Collaboration with sporting events Weaknesses

• Conservative programming

• Declining attendance

• Lack of detailed information about patrons

• Exclusive focus on past and current customers

• Inadequate measures of marketing effectiveness

• Signage and lack of DSO awareness

• Subscription package names

• Soft sales of subscription packages

• Marketing leadership in flux

• Website

• Balancing artistic integrity and marketing goals

• Poor communication among marketing subunits

• Assumption of musically educated patrons

• Risk associated with Music Director change

• Lack of volunteer and patron diversity

Threats

• Competition for consumer leisure time

• Competition from other presenters of classical music

• Lack of interest among younger patrons

• Dependence on City of Dallas for key customer touch points

• Competition for patrons and donors

• Parking

• Population growth is in remote areas

• Instability in Dallas political arena

• Piracy

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Strengths

Talented musicians and conductors

The DSO consists of ninety-one full time musicians including fifty-nine strings, fourteen woodwinds, fourteen brasses, and four percussions. Numerous musicians have several years of professional experience, and many are the recipients of international competition awards. The experience and skills of each musician are the foundation for the high quality performances, which rank the DSO among the best symphony orchestras in the United States. There are also five music conductors in the DSO. Andrew Litton, the Classical Music Conductor, has twelve years of experience with the DSO alone. The concert season of 2005-2006 will be Andrew Litton’s last with the DSO. Richard Kaufman has conducted Pops at the DSO for seven years. Claus Peter Flor is the Guest Conductor, and Lawrence Loh holds the Associate Conductor title. David R. Davidson directs the Dallas Symphony Chorus. Patron Service Center

The Patron Service Center (PSC) accommodates functions for both the Marketing and Development departments. The PSC strives to convert single ticket buyers into subscription patrons. Through communication and recommendations over the phone, PSC representatives attempt to build a lasting relationship with each of its customers. Meyerson Symphony Center

Although the Meyerson is the property of the City of Dallas, the DSO is its primary occupant. The Meyerson Symphony Center is a magnificent architectural work that can attract countless music lovers because of its nearly perfect acoustics. The DSO has successfully negotiated an extended agreement with the City of Dallas to make the Meyerson its home until 2019. Favorable Endowment-to-Budget Ratio

The DSO’s endowment has grown significantly and continues to do so. In fact, the endowment increased by 33% just last year due to a generous contribution made by an anonymous organization that agreed to match dollar for dollar up to $10 million in new endowment gifts. Endowments are a critical component in an orchestra's lifeblood. According to industry averages, the Best Practice Ratio of Endowment: Budget is 3:1. The DSO’s ratio is 4:1, over 30% higher than that of other symphony orchestras. Still, the DSO maintains the goal to increase this ratio to 6:1. Good fiscal responsibility

Even though symphony orchestras have experienced financial difficulties recently, the DSO has always been under budget, and 2004 left the orchestra with a $50,000 surplus. Between fiscal year 2002 and 2004, the DSO was successful in controlling costs, and grew 2.3%. It also increased the Annual Fund by 8.5%. Again, the Endowment Fund also grew substantially. Core of dedicated patrons The DSO’s patron base is almost identical to that of national orchestras in terms of demographic and psychographic characteristics. Patrons are very satisfied with the DSO and rate the orchestra very high on musical and artistic programming. Because the DSO’s market segments are known (current and past buyers), the upcoming season’s schedule is easier to create. Patrons of the DSO associate its personality with Andrew Litton, yet they maintain

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high expectations and optimism about the orchestra’s capabilities and livelihood after Andrew Litton’s departure. Experienced and passionate staff

The DSO values its employees, which makes the organization as a whole very vibrant. The staff love music and come from a variety of backgrounds, which inspires individuals to constantly generate new ideas and perceptions. The DSO provides training, seminars and a 360° evaluation system for a better employee community. The DSO continues to find and keep employees dedicated to its mission and who help maintain the organization’s culture and high expectations. Good Labor Relations

The strength of the DSO’s talented musicians has been achieved through positive relationships with the musicians’ union. Currently, the DSO has a contract with the union through 2009, whereas not all local symphonies maintain a similar positive relationship. The DSO has provided the musicians with an average 8% salary increase over the past 10 years (the national average is 3%) which also helps the orchestra to attract new talent, such as Shannon Lee from Plano who won the 2005 Bayard H. Friedman Award.

Commitment to the mission statement

Those who work for the DSO appear to be those lucky few who truly love their jobs. The employees’ pledge "To entertain, inspire, and change lives through musical excellence" is overwhelmingly positive. The staff is optimistic and motivated to achieve the organization’s Bold Plan of Greatness in gaining the reputation of an orchestra that is among the top five in the United States.

New Ticketing System

The DSO launched its new ticketing system, Tessitura, in July 2004. This updated technology was needed by the DSO and is the industry standard. In order to help the PSC maintain effective relationships with each and every customer, Tessitura allows the ticketing agents to capture and hold information about that customer through an embedded CRM tool. This tool can provide each PSC employee simple demographic information that the customer may have provided as well as prior ticket purchasing patterns. This is very helpful for recommending seating that may be near the customer’s last seat or recognizing that the patron seems to enjoy more Classical music instead of Pops. This feature needs to be further developed by the DSO as a means of competitive advantage. Volunteers

The DSO has 1,400 unsolicited volunteers who come to the DSO and even pay dues for the privilege of working with the DSO, but many of them are well connected to the community and their profession while maintaining their loyalty to the DSO. Most volunteers come from education programs or are concert-going patrons. Volunteer services include the Orchestra League, the Junior Group, the Innovators, and the Orchestra Guild.

Educational Programs

The DSO provides a variety of educational programs in which the musicians serve as mentors. Children represent future music lovers, performers, and patrons, and the DSO recognizes this life cycle. The DSO even sponsors an interactive educational website, which includes games, trivia, and lesson plans for teachers: DSOkids.com. The DSO also partners

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with elementary schools around Dallas (DISD) and the WRR classical radio station (FM 101.1) to help expand its offerings. Perception of Patrons

A recent Impromptu survey (see Appendix A) indicates that several patrons perceive the DSO as “A really good orchestra that plays classical music in a great hall.” This vision speaks for itself.

Weaknesses

Conservative programming

Current programming strategy applies a central thematic idea to a season. Due to current trends in the arts market as well as past experience, the DSO promotes both Classical and Pops music with flexible packages. The Pops music sales are approximately 30% of the entire annual ticket sales. Even though the Pops concerts play an important role in sales, the artistic staff is more willing to focus on the DSO’s workhorse, Classical music concerts. The DSO’s Traditional product line, the Classical Concert Series, is characterized by “conventional” classics presented the same way they have been presented for centuries. It is presented in a concert hall, with musicians in full formal attire. The DSO spends a majority of funding on Classical which represents a majority of their subscribers. Prior to the last five years, the DSO’s Classical series received positive feedback and was seemingly successful. Unfortunately, ticket sales for Classical music at the DSO and other national symphonies have declined at an alarming rate. This should be a red flag that the Traditional product line currently being offered does not completely satisfy the needs of past customers, nor does it attract new ones.

Declining Attendance

Busy lifestyles and alternative media forms are major factors that are influencing participation in performing arts and recreation away from home. With respect to the performing arts, studies show that cultural aficionados prefer to and listen to or watch performances at home. This is most likely due to advances in technology and home entertainment systems. Although the interest for performing arts such seems to be rising, attendance at live performances is decreasing.

Lack of detailed information about patrons

With Tessitura, it is possible to track customers and find out what types of concerts they are inclined to attend. Currently, the new ticketing system is not being utilized to its fullest potential. Patron demographic and psychographic information is not attached to behavioral data so analyses cannot be performed.

Exclusive focus on past and current patrons

The DSO exclusively focuses on past and present patrons as a model for future patrons. The demographics and psychographics of the DFW area are changing, and previous perceptions of who the DSO patron really is are changing.

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Inadequate measures of marketing effectiveness

Direct mail is the primary method to contact subscribers, donors, potential patrons, and the Board of Directors. In fact, most subscription communication is provided through direct mail. The Texas Arts Marketing Network provides local mailing lists compiled by arts organizations to enhance the DSO’s direct mailing lists. Unfortunately, direct mail effectiveness is not measured. Another way the DSO reaches its patrons is through its web site; however, the DSO only collects website user information when someone signs up for SymphonEmail.

Signage and lack of DSO awareness

The Meyerson lacks signage and visibility. The DSO is aware of this and has a project in place, but even those familiar with the Dallas Arts District may not know that the corner architectural building is the Meyerson and houses the DSO.

Subscription package names

The subscription package names do not represent the music being offered. Descriptions should include some familiarity for music experts and novices alike.

Soft sales of season subscription packages

The purchase of subscription packages requires a patron to commit several months in advance to a full year of concerts that do not start until September. This effort excludes many in a large group of consumers who tend to be spontaneous and are unable to plan that far in advance. To address this issue, the DSO has recently launched ‘Impromptu’, which is a membership program designed to allow for spontaneity among the DSO patrons.

Marketing leadership in flux

At the moment, the leadership of the Marketing department is in flux. Clear direction for any future marketing efforts will have to come from the interim leader as well as from input from the President and others connected to Marketing. Transition periods often cause confusion and important marketing efforts may be overlooked or lost in the shuffle.

Website

The DSO’s website needs to consistently reflect the DSO’s mission statement and brand. In addition, concert information including ticket prices, music samples, biographies of composers, musicians and the conductor should be easily accessible at the click of a mouse. The DSO is currently addressing this, and a new website will be launched in August. Balancing artistic integrity and marketing goals Conflicts exist between artistic responsibility and ticket sales. Finding programming that is compelling to patrons and getting them to come and listen has become one of the biggest challenges for the DSO. Poor communication among marketing subunits

The lack of communication between Marketing and Group Sales on fulfilling the orchestra’s patron quota results in conflicting rates, discounts, and messages from the DSO. Each department’s activities need not undermine the other's efforts. Assumption of musically educated patrons

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Current promotional materials primarily inform and remind patrons about DSO events, relying on well-known artists, musical selections and date/time information to draw consumers to the Meyerson. Many of the promotional materials presuppose an existing knowledge of symphonic content and composers instead of using education as a motivator for attendance.

Risk associated with new Music Director

Andrew Litton has been part of the personality and brand of the DSO for 12 years. Upon his departure, any perceived instability will need to be overcome so that patrons are reassured that the DSO will continue fulfilling and exceeding their expectations. Lack of volunteer and patron diversity Because being part of the community is so important to the DSO, a more diverse patron and volunteer base will help attract similar people that want to contribute to their community by means of the DSO. In addition, as the demographics of Dallas change, so should the demographics of the DSO.

Opportunities

DFW’s classical music population

Twenty-seven percent of adults have interest in classical music, but only 3-4% actually patronize orchestras. Ten to fifteen percent of those adults hold a close to moderate relationship with classical music. Twenty-four percent of DFW’s adult population is interested in classical music but they do not patronize the DSO. The reason for this discrepancy needs to be determined because it provides a wealth of opportunity.

Strategic alliances/corporate sponsorship

Nineteen Fortune 500 companies are headquartered in downtown Dallas. Two hundred regional headquarters and 2,250 global companies have offices in the DFW area. The DSO understands the need to expand its lead database and reach new markets. The DSO offers generous group discounts that are perfect for corporations to share with their employees as a means of reward, compensation, or charity. Search for new music director

The DSO’s search for a new music director is an excellent opportunity to educate the public on symphony music and its orchestra as well as display its value to the community. The search also provides an avenue for media relations and the ability to employ top rated visiting conductors at the DSO. Initiator programs

According to the Knight Foundation Study, Initiators strongly agree with the statement: “I’m the kind of person who likes to organize outings to cultural events for my friends.” Initiator programs encourage patrons to invite others to the event and can assist patrons in sending personalized invitations to friends and family for attending concerts, thereby increasing ticket sales. As potential customers surf the DSO’s website and select a program, they are prompted with the unexpected proposition: “Would you like to invite friends?” In addition, the DSO currently advertises through several websites that include the “Email This Event to a Friend” option. At the click of a mouse, patrons can invite friends and family to events they run across when searching the area for things to do.

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Downtown Dallas workforce and residents

Dallas employees travel an average of 31 minutes to their jobs over a median commute distance of 20 miles. Twenty percent of Dallas’s jobs are located downtown. Forty percent of downtown employees are college graduates and 16% have postgraduate degrees. Thirty-six percent of downtown residents are 25 years or older and college graduates; 20% of those have post-graduate degrees. Most of these groups represent similar demographics and psychographics to other orchestra attendees. These groups, who possess the characteristics of an orchestra attendee, can be targeted by the DSO to expand its patron base and take advantage of being in the same location. Technological advances for attracting patrons

The DSO should also offer its own online interest groups and forums or create links to external arts and music blogs. A blog is an easy-to-use web site, where one can quickly post thoughts, exchange ideas with people of similar interests, and more. The service is free and can generate a lot of interest and buzz among Classical and Pops music lovers.

High School and college Students

Dallas is the #1 city in Texas for the number of publicly enrolled college and university students with 28 colleges and universities. There are eight major universities within a 40-mile radius of downtown and they enrolled 98,000 students in 2003. There are also 200 public school districts within that radius. With the educational institutions’ help, campaigns such as “Enlightenment Through Music” or “Personal Enrichment Through Music” could be used to gain student and even faculty interest. These educational organizations should be willing to collaborate with the DSO because they are essentially promoting student learning, education, and social skills development.

Innovative marketing mix opportunities

In order to position itself as a “Premier Cultural Experience Worth Sharing,” the DSO will have to make a few changes to its existing marketing mix. It will not only have to include variety in its existing programming, but it will also have to make some subtle and some not so subtle changes to its pricing, distribution and promotion strategies.

Dallas tourism

Dallas contains over 5,400 hotel rooms and 11% of those rooms are located within downtown Dallas. The Dallas Convention Center is used by 3.8 million people annually. Also, the DFW airport transports approximately 53 million passengers per year with access to 95% of the US population within a four hour flight time. The DSO can promote itself as the place to go, the thing to do when visiting Dallas by building relationships with those companies involved in Dallas tourism.

Benchmarking successful orchestras and orchestral programs

The Fort Worth, Garland, Richardson, and Arlington Symphony Orchestras are all within driving distance of the DSO. Understanding the most successful attributes of these organizations will help the DSO to formulate successful offerings and operations. Looking to national orchestras with similar annual budgets can also provide insightful benchmarks.

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Donors of competitors

The DFW area is home to many arts organizations that compete for the contents of donors’ wallets. The DSO should observe its current donors as well as its potential donors. What special programs do other organizations offer that persuades people to donate to them instead of the DSO?

Growing Hispanic market The Hispanic population is the second most prominent race in DFW, second to white Americans. The Hispanic population will reach 50% during the next decade. The DSO needs to be aware of this shift in demographics and create programming, educational items, and other outreach programs to further serve this group’s future interests.

Capitalize on wealthy Collin and Denton county residents

Collin county residents have an average disposable income figure of $82,000. Denton county’s average disposable income is $60,200 compared to that of $56,400 in Dallas county and $51,850 in Tarrant county. Per capita income in Collin County is higher than the per capita in Dallas County whereas Denton County’s is comparable. These figures suggest higher concentrations of wealth in these counties. Both Collin and Denton counties may provide a means for future patron expansion at the DSO.

Collaboration with sporting events

Dallas offers all major professional sports in addition to several non-professional affiliations. Sports such as golf, rugby, and polo have patrons with similar demographic characteristics as current and past patrons the DSO. The FC Dallas soccer games are a very popular event among the area’s Hispanic population.

Threats

Growing disinterest in the genre and competition for consumer leisure time

Disinterest in orchestral organizations is an industry trend. Technology has definitely leant a hand in this. Stereo systems, especially home and automobile entertainment systems, have made such advances in sound quality that it has become more convenient to enjoy music in the comfort of one’s own home or car. Classical music can be obtained via CDs, DVDs, the Internet, radio, and MP3s. People have access to these items twenty-four hours a day. Another reason for declining interest is the casual nature of people today. Not everyone is aware that the orchestra has become more relaxed and less formal in nature. Many people still view going to the orchestra as a high-class affair that is expensive. The orchestra also competes with other cultural and non-cultural activities such as choral concerts, theatre, movies, amusement parks, etc.

Competition from other presenters of classical music

The single biggest threat to the DSO is the fact that there are at least half a dozen major orchestras in the Metroplex. The DSO must capitalize not only on what these orchestras are doing right, but their patrons as well. The Fort Worth Symphony Orchestra actually provides bus transportation from Dallas to Fort Worth to encourage attendance and take patrons away from the DSO.

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Dependence on City of Dallas for key customer touch points

Since the City of Dallas owns and operates the Meyerson Symphony Center, the DSO does not control every patron touch point. The city employees do not necessarily have the same knowledge and passion for music that the DSO employees have. They also may not have the same interest in making the event an experience for the DSO patrons. Competition for patrons and donors

DFW cultural art patrons have a myriad of options to choose from including museums, art organizations, the ballet, theatre, the rich cultural districts of Dallas and Fort Worth, etc. Many of the other arts hold an advantage in that that they are visual in nature. In general, many people identify with and are more stimulated visually than by just listening.

Parking

Because the DSO relies on the City of Dallas for parking, flexible pricing and any post-concert activities are limited (The Dallas Arts District Parking Garage closes at 10:00 p.m.).

Population Growth in Remote Areas

As the DFW area grows, people are taking up residence further away from Downtown Dallas and the Myerson. The projected demographic growth is concentrated mainly in the suburbs, which puts the DSO at a greater distance from its potential future audience.

Instability in Dallas political arena

Both national and local cultural affairs receive little support from the government. Dallas has an Office of Culture Affairs, but most of the office’s focus is on the arts and museums. Several programs have been put in place to encourage children, as well as the community, to experience fine arts and culture. Unfortunately, these programs contribute little to the Classical music industry. The internal battles between the Mayor of Dallas and the City Council will not improve the situation for Classical music. Piracy

Over the past several years, the music industry has had trouble with music piracy. Music is readily available over the Internet. Free and illegal music download programs are created everyday which greatly affects CD sales. These programs and CD-burning software make it easier and less expensive for people to copy and share music.

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Target Market Strategy

Prospective Classical Orchestra Listeners

The Knight Foundation study provides a detailed view of the prospective customers of the Classical Symphony Orchestra. According to the 2002 survey, conducted among the 15 participating orchestra consumers, nearly 60 percent of adults express at least some interest in classical music, and nearly one-third of those fit classical music into their lives regularly in their autos and at home. Less than 5 percent of the adults interviewed in the 15 communities are regular patrons of their local orchestras. Classical music lovers are everywhere, but most of them are not in the local concert halls. Roughly 10 to 15 percent of American adults have what might be termed a close or moderately close relationship with classical music, and again as many have weaker ties to the art form. This translates into tens of millions of people with some interest in the art form. But here’s the catch: Only half of those who express the very highest levels of preference for classical music actually attend symphony orchestra concerts, even infrequently. Using different sets of measures to identify potential classical music consumers, the study explored adults’ affinity for classical music and then their ties to a specific orchestra. Crisscrossing these two dimensions, the study produced a market segmentation model that categorizes potential classical consumers into one of eight “prospect” groups. In total, about 27 percent of adults are prospects for their local orchestras. The rest of the adult population has so little interest in classical music that they cannot be considered likely customers for local orchestras. Across the 15 study cities, approximately one in four adults are prospects (i.e., potential orchestra ticket buyers).

Measurability and Accessibility of Communication and Distribution to Target Segments The segmentation strategy is identifiable and measurable because the characteristics of the segments, namely Initiators and Responders, are known and actionable. This provides the benchmark for the DSO to identify the size and the purchasing power of each group. Targeting the Initiators will make them responsive to the DSO’s marketing efforts. The proposed segments have varied profiles and each of them will respond differently in comparison to the other segments. Since the Initiators are enthusiastic about inviting other people, it is viable that they will be willing and able to engage in activities with the DSO. Emphasis on current and past patrons limits the DSO’s market reach and scope and fails to augment its existing market. Lack of a secondary target market makes DSO dependent upon a selected audience. Clearly, the DSO currently does not have a strong segmentation strategy nor does it have a clear definition of what the target market is, and which markets should be developed in the future. Since the organization is not clear about the psychographic and demographic characteristics of its current patrons, it is difficult for the DSO to fully focus its efforts on its target market.

The most important target segment to concentrate on is the Initiators. Focusing on converting both Initiators and Responders into active buyers through direct mail acquisition efforts and media advertising would not be feasible in terms of both time and capital gains. A more productive approach to activating the demand in the Responders would be to market to them indirectly through the Initiators, since they normally require a social stimulus. This would work well because the Initiators derive meaning and satisfaction from the process of creating cultural experience for their friends.

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Based on the Knight Foundation study, which identified nine segments to which orchestras should market, and their numbers, the top four segments applicable for the DSO are described as follows:

Group 1: Captured Active Audience

Segment 1: Sophisticated Active Audience

(15 Market Weighted Average: 1.7 Percent of Adults) Summary: These are sophisticated lovers of classical music who have a deep relationship with the Dallas Symphony Orchestra. These individuals report very high arts participation generally, with an emphasis on classical music. While they are likely to satisfy their hunger for classical music in multiple ways (including radio and recordings), they are frequently seen attending concerts. The segment includes current subscribers and high frequency single-ticket buyers. They are most inclined of all segments to subscribe.

Prospect Universe for D/FW: 104,000

Classical

Consumption

Profile

• Very high classical music participation generally • High consumption levels of all types of live classical product • Very high consumption of classical music radio and recordings • Most knowledgeable about classical music of all segments • Self described “critical listeners” of classical music

Relationship

with Their Local

Orchestra

• Are all currently attending the DSO (within past year) • Highest average frequency of attending local orchestra • Very high social context (family and friends) for attending local orchestra • They are active in the decision to attend — most have personally purchased tickets • They live closest to the orchestra’s venue of any segment

Demographics

• Highest percentage female (58 percent) • Oldest average age of any segment — 52 years (tie with segment 2) • 31 percent are retired (highest of any segment) • 87 percent white • 30 percent report household incomes over $75,000; 72 percent report a college degree or post-graduate studies

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Group 2: Low/No Involvement Alumni

Segment 2: Casually Involved Active Audience

(15 Market Weighted Average: 2.0 Percent of Adults) Summary: These individuals also have a strong relationship with the DSO. However, this relationship does not appear to be as motivated by a profound appreciation of the art form. This segment is only moderately knowledgeable about classical music — they are more likely to be “casual listeners.” While this segment also experiences classical music in a variety of ways — radio, recordings and live performances — their focus is less intense. The segment includes both current subscribers and higher frequency single-ticket buyers. These individuals indicate some inclination to subscribe.

Prospect Universe for D/FW: 228,800

Classical

Consumption

Profile

• Higher than average classical music participation generally • Consume a variety of live classical product • High ownership of recordings but only moderate consumption of new recordings • They are moderately knowledgeable about classical music and only somewhat interested in learning more • Are self described “casual listeners” of classical music

Relationship

with Their Local

Orchestra

• Are all currently attending the DSO (within past year) • Moderate to high average frequency of attending local orchestra • Very high social context (family and friends) for attending local orchestra • Nearly three-quarters participate in a joint decision to attend or let someone else decide; however most have personally purchased tickets • They live nearby the performance venue

Demographics

• 50 percent are married or partnered • Oldest average age of any segment — 52 years (tie with segment 1) • Are long-time residents of the area — average 34 years • 85 percent white • 39 percent report household incomes over $75,000; 55 percent report a college degree or post-graduate studies

Consumer

Behaviors • They are Responders — most would be more likely to attend cultural outings if someone else invited them

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Group 2: Low/No Involvement Alumni

Segment 3: Sophisticated Low-Frequency Alumni

(15 Market Weighted Average: 1.7 Percent of Adults) Summary: These individuals are also very sophisticated consumers of classical music. But they are significantly less likely to get their classical music fix through the DSO or their local orchestra. These individuals report the second highest classical music participation generally but average only a single concert by their orchestra annually. Although these individuals experience classical music in multiple forms — radio, recordings and live performances — and multiple locales — home, work, concert hall and other venues — they are not frequently seen at the DSO. Distance from the concert venue may be a barrier to attendance for these individuals — they report significantly longer drive time than their more active counterparts. The segment includes some former subscribers and low freq. single-ticket buyers.

Prospect Universe for D/FW: 88,400

Classical

Consumption

Profile

• High classical music participation generally and high consumption levels of all types of live classical product • High consumption of classical music radio and recordings • Highly knowledgeable about classical music and are interested in learning more; more than one-third consider themselves “critical listeners” of classical music

Relationship

with Their Local

Orchestra

• Most have social context (family and friends) for attending local orchestra • 34 percent attended their local orchestra over the past year at an average rate of 1.2 times • Three-quarters have personally purchased tickets, and one in five have subscribed in the past • They live further away from the venue — average drive time 25 minutes

Demographics

• Highest percentage married or partnered (63 percent); average age — 50 years; 85 percent white • 38 percent report household incomes over $75,000; 73 percent report a college degree or post-graduate studies — highest of any segment

Consumer

Behaviors

• They are frequent attendees of other arts programs (12.4 times in past year) • More than half have volunteered for an arts or cultural organization, and 70 percent have made a donation to a nonprofit classical music radio station • Very acquisitive — most are always looking for information about cultural activities

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Group 2: Low/No Involvement Alumni

Segment 4: Interested Single-Ticket Buyers and Ghosts

(15 Market Weighted Average: 4.4 Percent of Adults) Summary: These individuals are only moderately sophisticated consumers of classical music. However, they are interested in learning more. They only have a limited relationship with their local orchestra. Compared to the other top segments, fewer of them have family and friends who attend concerts by the local orchestra. This segment is the most racially diverse of the top four segments. While the segment includes some former subscribers along with low frequency single-ticket buyers, they have a below average inclination to subscribe.

Prospect Universe for D/FW: 228,800

Classical

Consumption

Profile

• Low annual frequency of attending any classical music concert — two times on average • Low to moderate social context for attending classical music concerts • Likely to have a favorite classical composer and to a lesser extent a favorite classical composition • Somewhat knowledgeable about classical music but are interested in learning more • While most consider themselves as “casual listeners,” 20 percent are self-defined “critical listeners” of classical music

Relationship

with Their Local

Orchestra

• Slightly below average social context (family and friends) for attending local orchestra • 26 percent are currently attending their local orchestra (within past year) at an annual frequency of 1.1 times • 59 percent have personally purchased tickets; 11 percent have subscribed in the past • 40 percent are “very interested” in attending concerts in the future

Demographics

• 51 percent married or partnered; average age — 46 years • 14 percent African-American; 13 percent Hispanic ethnicity • 33 percent report household incomes over $75,000; 50 percent report a college degree or post-graduate

Consumer

Behaviors

• Most desire to attend live performing arts events more often • 79 percent would be much more likely to attend cultural outings if someone else invited them

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Positioning Strategy

Based on the identified target market, the DSO will have to position itself accordingly to meet the market’s needs. In order to attract more patrons and sustain existing patrons, the DSO needs to focus its current marketing efforts on the ‘Initiators,’ who not only come to the concerts themselves but also bring in their family and friends, who in turn are categorized as ‘Responders.’ Once the DSO can convince these Initiators to come to the concerts regularly, it automatically reaches the Responder population.

With changing times, the priorities and lifestyles of people/patrons have changed. In order to accommodate these changes, the DSO needs to portray itself as an organization that not only provides excellent music, but also provides a unique experience to its customers. One segment (sophisticated low-frequency alumni) of the potential classic music audience craves variety. These Initiators are always on a look out for attractive cultural options to organize outings for their friends. The DSO’s position as just a music provider puts it at a disadvantage, when compared to its closest competitor, the Fort Worth Symphony Orchestra, which associates itself with different art forms and tries to provide variety to its patrons by conducting concerts in different venues and in different environments. The best example of this would be the ‘Concerts in the garden series’ of the FWSO, which not only provides a great musical and cultural experience to its patrons, but also provides variety and a relaxed environment which they can enjoy with their friends and family.

The positioning strategy that we suggest for the DSO is that it should try to portray itself as a:

“Premier Cultural Experience Worth Sharing” The rationale behind this positioning is:

• “Initiators” are always on a look out for cultural events that they can go to and also include their family/friends. Positioning the DSO experience as a “cultural experience” emphasizes the cultural context attached with the DSO.

• The “Sophisticated active audience” has a need for social interaction. Positioning the DSO as an experience worth sharing taps into that need and implies that they should bring someone with whom to share the DSO experience.

• The second segment of Initiators, called the “Sophisticated low-frequency alumni,” do not go to the concerts for music alone. They are attached to all forms of art and, for them, going to art events has a social context attached to it. They are there because they want to meet people and take people with them for a great experience. Promising a unique cultural experience will attract them to the DSO.

• This same segment also seeks variety. They are mostly single ticket buyers and go to different art events in their quest for variety. Promising them a total cultural experience, by collaborating with other art organizations, will put the DSO at an advantageous position with this segment.

• Positioning the DSO as a total cultural experience also touches the need of the present and potential patrons related to ‘contributing to the arts’. These people want to contribute to the arts in general, and therefore positioning the DSO as a cultural experience emphasizes the fact that they are not only contributing to the music but to the arts or culture in general.

• This positioning also caters to the philanthropic needs of the “Sophisticated active audience.” These art lovers want to contribute and make a difference in their community

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and society in general. Reminding them that they are doing something great for their culture will give them greater satisfaction.

With this suggested positioning, the benefit communicated to the patrons is the ‘Cultural Experience.’ The suggested target segments not only want to be transformed but are equally interested in sharing these transformative experiences. Hence by communicating the benefit of ‘sharing’ this cultural experience, the DSO can fulfill their needs. By positioning themselves as ‘Premier’, the DSO can create a unique identity in the minds of its patrons. Although there are many competitive orchestras and other art organizations in the area, trying to create an image of ‘premier cultural experience’ in the minds of its patrons through promotion and product offerings, the DSO can own this image in a similar manner as Volvo owns ‘safety’ in the auto industry.

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Product Strategy

Fit Planning Requirements & Time Constraints

Programming is planned with input from the President & CEO (Fred Bronstein), the Music Director (Andrew Litton), the Artistic Operations staff (of thirteen members), and the Marketing staff. Programming requires a substantially long lead time from creation to performance- at least one year in advance. Therefore, the DSO must stay abreast of changing consumer tastes and marketplace trends, then adapt the product mix accordingly.

Appeal to Target Segments

It is essential that the DSO find a balance in its product offering to appease its existing audience while also attracting new patrons, who will need a more exciting value proposition. The product mix should appeal to the four proposed target segments. The DSO may be challenged to retain the loyalty of the current audience (Segments 1 & 2), if the product changes dramatically. The product offering will need to continue meeting their needs while also meeting the needs Segments 3 and 4, which may not be similar. The product strategy should align with the new positioning to make the DSO “A premier cultural experience

worth sharing.”

Align with the DSO

The product offering must align with the DSO’s mission statement and goals. It must also fit within the financial and operational capabilities of the organization. Additionally, the product offering must match the capabilities and style of the conductor and the orchestra. Relate to Dallas The product offering must be relevant to Dallas residents. The offering should match the image of Dallas, which is portrayed as an exciting, energetic, vibrant, youthful and friendly city. Balance the Old & New Art Form The product offering must maintain the integrity of an old-world art, while also modernizing the music and presentation to appeal to younger audiences. Conductor

Critics agree that the Conductor/Music Director is the key element to a successful orchestra. In most prominent orchestras, it is the music director who shares and adds to the orchestra’s importance within the industry. To become a Top 5 Orchestra, the DSO will need to employ a Top 5 conductor. A Conductor is required to be more than a gifted talent. As the face of the orchestra, the Conductor must also possess the ability to lead and influence the strategic direction of the entire organization. As well, s/he must be charismatic, charming, dynamic, intelligent, innovative, relentlessly hard working, and passionate. An additional consideration that can help generate interest would be to select a conductor who is good looking; this may help the symphony appeal to an even larger audience. A conductor needs to have a unique definable style that will differentiate the orchestra from other symphonies. S/he must motivate the orchestra musicians to play better and improve the quality of music. The director must theatrically perform to emotionally move and inspire audiences with the passion and style

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used to coordinate the orchestra. In summary, a good conductor is someone who comprises the ability to conduct, as well as the ability to lead.

The Saint Louis Symphony has done an incredible job in using its conductor to differentiate itself. It is taking advantage of the opportunity by promoting him with “It’s Different with David Robertson.” The conductor appears to be exciting and innovative. In his upcoming new season he plans programming that will be different. For instance, he plans to match works of the distant past with works of contemporary experience. This is his inaugural year with this symphony so it will be one to watch.

Declining sales of the Classics package is a sign that the current classical conductor, Andrew Litton, may not be offering the highest quality of music as required by the most discerning audiences. This revelation solidifies the need for the DSO to have a strong and innovative conductor.

Additionally, according to the DSO Survey of Needs and Satisfactions (01/04) taken with orchestra members, the DSO’s number one need in order to create and sustain a top tier orchestra is an inspirational conductor. Artistic leadership and compelling interpretative ideas were identified as the number two and three needs respectively.

Starting in the 2005-06 season, the DSO will have the opportunity to feature a variety of talented conductors. The organization can leverage this opportunity in a number of ways. First, it can promote the sit-in conductors by offering concert-goers a rare opportunity for exposure to world-renowned artists. Secondly, the DSO can use the year to interview potential candidates for the vacant position, without the audience realizing that the conductor is being interviewed. Similarly, the orchestra can learn from different conductor styles, which types of conductors work best with the musicians, best with the organization, and are most liked by audiences. However, the DSO will need to overcome the instability created from Andrew Litton’s departure and will need to reassure current and future patrons that the DSO will continue to be as good as it’s always been, if not better.

The new conductor will need to have the charisma to charm current patrons while having an edge that will intrigue and interest prospective patrons. It will be a challenge to find the right person who will be able to please the DSO’s core audience while driving excitement and curiosity from prospective patrons. Not only will it be critical to win over patrons, but also his ability to win over media critics is going to be equally important.

Orchestra Talent

One of the four ingredients to orchestral success according to American Symphony Orchestra League’s vice president and chief operating officer, Jack McAuliffe is the orchestra:

“Musicianship of the instrumentalists: They've got to be gifted musicians who understand, and enjoy, the challenges of performing as an ensemble. "There's probably as good a supply of fine musicians as ever before," McAuliffe says, noting the abundance of conservatory graduates.”

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In a recent DSO survey, there was an overwhelming feeling by patrons that the orchestral musicians do not seem excited about their work and, in general, just aren’t exciting performers. Although they are likely capable of producing a performance that is innovative and can evoke emotion with the audience to create a memorable experience, this is not happening consistently.

The DSO, in its quest to have a rank in “the top 5," should evaluate its current set of musicians and ensure it has the right people to take it there. To deliver a good product to the customers, the musicians should be asked to play for the audience and not for the conductor or themselves. The musicians should also be given a chance to organize and decide the concerts that would go into programs. This would be a way to encourage the musicians to exercise their creativity. In the future, the DSO can also think about establishing a musical advisory committee to be successful in this kind of programming venture.

Traditional versus Non-Traditional Products

The DSO, like other orchestras around the world, has the unique challenge of providing an “old world” art to a “new world” audience. In response to changing consumer needs, symphonies are slowly evolving to be more modernized. One way the DSO has modernized is by offering a product line of “Non-traditional” programs and presentations. The current Non-traditional product line includes the Deloitte Pop Series, Family Concerts, etc.

On the other hand, while the symphony is modernizing, it is a form of art, which by industry precedence should remain pure and unchanged. Modernized programming and presentation turn off a distinct group of traditional advocates who hold this sentiment. They passionately believe that the symphony must remain, in sound and form, the same as it has for centuries. Classical music in its unchanged format is named “Traditional” programming. The current Traditional product line includes the Classical Series.

The DSO has, in effect, two distinct and mutually exclusive product lines: Traditional and Non-traditional. As mutually exclusive products, each should be treated as its own entity, separate and apart from the other. By treating each product individually the DSO can more clearly communicate the strengths of each offering and more precisely meet the particular needs of the unique attending audience.

Programming Distribution

Currently, 50% of DSO programming resources are spent on Traditional products and 50% are spent on Non-Traditional products. However, this allocation of resources does not align with the opportunities that exist in the market place and does not match other competing orchestras, including the Fort Worth Symphony. It is highly suggested that the Traditional product offering be gradually reduced from 50% of programming to only 15% of programming.

Traditional Product Strategy

The Traditional product is characterized as “conventional” classics presented the same way it has been presented for centuries. As such, it is presented in a concert hall, with musicians in full formal attire. The DSO’s current Traditional product

Family

3%

Classical

50%

Romantic

1%Featured

Artists

4%Stars

5%

Community

6%

Holiday

11%

Pops

20%

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line includes the Classical Concert Series. The DSO spends a majority of funding and obtains a majority of subscribers through the Classical Series. Prior to the last 5 years, the DSO’s Classics received positive feedback and was seemingly successful. However, ticket sales for the Classical Series, at the DSO and at symphonies around the world, have declined at an alarming rate. This is a red flag to management that the Traditional product currently being offered is not satisfying the needs of past consumers, or attracting new customers.

While the Traditional product line may seem outdated, it serves a vital purpose to both the symphony and classical music enthusiasts. Therefore, the DSO should continue to offer a Traditional product, just as it always has. However, it should only comprise 15% of orchestra concerts instead of the current 50% of orchestra concerts. This strategy makes sense because surveys show that a select group of consumers are offended by change. To achieve “Top In Class” status from critics, conductors, and musicians the DSO must refine and maintain its Traditional programming.

Research shows that the audience for the Traditional product is shrinking because of changing demographics and consumer demands. It is our opinion that the Traditional product should be preserved by formal presentation and musical offerings. Through formality the DSO can achieve a perception among top industry critics that it is the “best of the best.” While formality may attract highbrow and elitist audiences, this perception is appropriate to the Traditional audience. Therefore, the Traditional product should not be diluted with informality or casualness. Performances such as the Summer Casual Series are middle-of-the-road and may turn off those who truly appreciate a Traditional product. More research, however, needs to be done to confirm the accuracy of this theory. The DSO should continue to survey and learn more about the needs and wants of this select group of Traditional Classics audience.

Traditional Target Audience

Traditional Products best meet the needs of the “influential classical purist” (Segment 1) and their companions (Segment 2). This group has a vast knowledge of classical music; the quality of the performance must be maintained and in line with traditional values and expectations. Traditional product buyers already have strong ties to the current programs of the DSO; therefore less emphasis for change needs to be placed on the types of programming offered.

Traditional Product Series and Packages

The Texas Instruments Classical Series concentrates on the composers of the Classical Era, 1750-1825. Because these concerts are “tried and true” there is little that is suggested to improve programming. Additionally, the DSO offers five packages, each containing seven concerts. It is suggested that the package names be changed to reflect the package content. A sixth “Custom” package could be added for flexibility to the package system. This package would allow knowledgeable, variety seekers to compile their own concert series from the Classic concerts available.

Current Name Name to Consider

Bravo Package- the “Greatest Hits” list from classical music history

Classic’s Greatest Hits

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Ovation Package- includes Mozart’s best works along with Tchaikovsky’s Symphony No. 5, plus Conductor Andrew Litton’s favorite Russian composers

Mozart, Tchaikovsky and More

Encore Package- contains both symphonic compositions and solo performances in a collection of landmark classical works.

Landmark Classics

Applause Package- includes American and European Masters and their classical milestones.

Classics from the American and European Masters

Acclaim Package- features works of the greatest German composers as well as notable works from composers around the world.

Classics from Around the World

N/A (New Package) – Customize your own package – Choose any 7 performances to create your own package.

My Symphony

Non-Traditional Product Strategy

Non-Traditional products include all other performances. These programs are considered Non-Traditional because the programming and presentation of these concerts will be enhanced, changed or created to present the symphony in a more modern way. The Non-Traditional product strategy is very different from the Traditional Strategy in that the goal is to attract and retain new, younger, and more diverse audiences.

Don’t Reinvent the Wheel

When the DSO can accurately track successful concerts via tickets sales and/or consumer feedback, it simply needs to focus programming on the same or similar programs that drive the most revenues. Focusing on only those most successful concerts, the DSO can more accurately analyze which factors influenced concert success, and then model future concerts accordingly.

Capture Young, Diverse Audiences

The current programming for the DSO is slightly more innovative than in the past. However, the current Non-Traditional product needs to be enhanced even more if the DSO is to capture the attention of a younger, more diverse generation of future concertgoers. A survey of the current DSO audience shows that attendees are older and less diverse than the local population. This makes it clear that younger generations of potential consumers do not currently consider the DSO to be a viable entertainment option. If the orchestra holds a view that, “If we play great music, they will come.” ticket sales will continue to decline and people will lose interest in classical music. The goal of the Non-Traditional product offering should be to capture young diverse audiences. The DSO has started to change its approach to

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programming with the goal of gaining a broader appeal. However, it should consider taking this approach to a higher level by experimenting with new programming options.

Change Perceptions to Welcoming and Affordable

All Non-Traditional products should focus on changing the long-standing perception that symphony concerts are boring and stuffy. The Non-Traditional product offering needs to support the DSO’s efforts to break out of this position in the minds of its target audience. Esa-Pekka Salonen, music director of the Los Angeles Philharmonic understands the importance of radical programming as well as the importance of juxtaposing old and new pieces. He believes that, “The only tool we have is context. You perform the masterpieces alongside daring new works that will invite the audience to hear connections.” Additionally, there are sponsors and philanthropists who must be considered. Any changes in programming can affect their decisions on whether or not to continue their support. Although traditionalists may express displeasure in modernizing the art form by presenting it differently from the traditional method, such concerts can be exciting to the less avid music fans among us. Stepping away from safe programming is a risk, but other symphonies have done so and met with success as a result. For example, under the new direction of Music Director, James Levine, the Boston Symphony Orchestra has developed less traditional programming that “hasn’t pleased some of the older and more conservative subscribers, [but] at the same time, is attracting an audience that either hasn’t been there in years, like the professional and student music communities, and a younger crowd.” As a result of this riskier programming, the BSO estimates that subscriptions fell about 3-4%. However, single ticket sales are up and now account for 45-47% of capacity.

Non-Traditional Target Segments

In creating a Non-Traditional product, the DSO should avoid a “one size fits all” mentality, and focus on meeting the needs of various groups. This lack of customization leaves a void that can be filled by the DSO if it is able to identify and specifically target groups such as the Sophisticated Active Audience and the Sophisticated Low-frequency Alumni. Non-Traditional Products will best meet the needs of the influential classical convenience and variety seekers (segment 3) and social, diverse attendees (segment 4).

Segment 3 is knowledgeable about classical music, so it may also attend traditional classic programs. However, if the DSO would like to attract younger audiences, who generally have less knowledge about classical music, other programs should be considered. This group of customers tends to like variety; therefore, long subscription series might not be appropriate. They prefer single event tickets, to fit their lifestyle. Programs should be flexible enough for customers to be able to choose their own subscription package.

Consumer in Segment 4, the most ethnically diverse of the top 4 segments, have favorite composers, and do not attend orchestras for social context. They enjoy classical music, but are only moderately knowledgeable. This indicates that ethnic variations of classical music or better known compositions will appeal to this segment and help them relate to the music. The DSO has conducted concerts targeting the Hispanic and African-American population, and needs to host such concerts more often. The rising population of Hispanics and Asians indicate that such concerts need to slowly graduate from ‘Special Events’ to more regular events. Concerts with Oriental or African-American themes or concerts during festivals (e.g. can help the DSO connect with these ethnic groups, as well as give them a flavor of different adaptations of western classical music.) should be considered. Because this segment has favorite composers, concerts of their favorite composers are more likely to attract them, and

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this can also be used to create awareness about other composers. For example, a concert can consist of a piece by their favorite composer followed by a well-known piece by another famous composer.

Non-Traditional Products Contemporary Classics It is recommended that the DSO develop and implement a new product line, Contemporary Classics. This product line would be designed to capture audiences who enjoy the more familiar classical pieces. In addition, visual elements and other enhancements will be added to create excitement for younger audiences. Other symphonies have had success in implementing similar programming into their schedule. Contemporary Classics would bring music from the past into the present and also look at the future. For the 2005-06 season, the programming is already set, so we suggest augmenting the current performances with visual elements (to be discussed later). It is imperative that the Contemporary Classics product line be clearly identified so that traditional classical patrons do not attend and end up being displeased. The DSO should also consider tailoring other events to younger crowds. For example, the San Francisco Symphony has found that innovative, cutting-edge programming can boost sales among younger audiences while maintaining interest among older concertgoers. The symphony’s American Maverick Festival, a three-week program of non-subscription concerts highlighting tradition-breaking American composers, brought in a much younger, more curious audience. To the organization’s surprise, many of these newcomers came back and subscribed to the regular season. The series of Maverick concerts also generated a great deal of press both locally and nationally and earned the San Francisco Symphony a reputation as a cutting-edge group. San Francisco had to overcome a great deal of resistance from its board when the idea was first conceptualized. Innovative programming, including modernists and renegades, can generate interest among a new demographic. The St. Louis Symphony Orchestra chose to showcase Classical’s Top Hits as a way to increase broad appeal, resulting in its best ticket sales in ten years. During that same 2003 season, the symphony played all nine Beethoven symphonies. The same orchestras also bring music from the past into the present; they also face the future. Here, Stravinsky looks backward, playing wittily with Bach. Mozart’s concert aria brings the past to youthful, fresh, untroubled life. Claude Vivier then looks back to his own past, in Lonely Child, a piece about his own childhood as an orphan. Then—with an explosion of orchestral color—John Adams looks both back and forward, showing everything composers now can do with the harmonies of the past. The Seattle Symphony Orchestra's Made in America Festival closed its two-week run with a program that was strong. Although there wasn’t a sold-out crowd, the critics gave great reviews and even made mention of its festival program. Deloitte Pops Series & Packages The Deloitte Pops Series centers on popular music of the 20th Century. The Pops series are currently very successful for the DSO. Packages include the Chart-Topper Package, the Center-Stage Package and the Spot-Light Package. Since the Pop Series is doing well, the DSO should continue doing what has worked in the past and devote more programming to the Pop Series. We are suggesting an increase in the Pops programming. Because the DSO’s

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sales per concert for pops run approximately 44% higher than for classical, it is missing opportunities for revenue by not extending the number of Pops performances. The Boston Symphony has been successful with a version of Pops called “Baby Boomer Bash.” The concert is promoted in the following way, “Whether you were born to be wild or born to be mild, raise your voice and sing out to the Boston Pops' famously popular Baby Boomer Sing Along, which includes the songs "Your Mama Don't Dance," "It's My Party", "Blowin in the Wind," "Satisfaction," "Joy to the World," "Y.M.C.A." and more. Come together at the Boston Pops' Baby boomer Bash!” Family Concert Series Concerts for families are a great way to get younger audiences introduced to the symphony. The DSO’s current Family series has some entertaining options, and the DSO should continue to seek out programs that will generate interest, enthusiasm and attendance. Other symphonies across the country are having great success exploring new, innovative family programming. Some of these include The Sorcerer’s Apprentice, which many people know from the classic Disney cartoon, Fantasia and Bugs Bunny on Broadway. Also, The Charlotte Symphony holds Saturday morning concerts for young children and features a musical petting zoo for children to see and touch the instruments. These concerts are sponsored by Radio Disney, through which they can leverage even more awareness.

Distinguished Artist Concerts The Distinguished Artist Concerts brings in ten “Guest Conductors” to lead the DSO with their unique musical methods. Generation X/Y Pop-Culture Concerts (Music, Movies, Video Games) The DSO, as well as many other symphonies, successfully attracted new, young and diverse fans by integrating symphony performance with pop-culture. The DSO can tailor packages such that each package features a particular music artist (such as pop or rock artist) or a particular event (such as movies). Pop-culture concerts are a tremendous hit with those patrons who get to enjoy favorite artists in a new and exciting way. Pop-culture Concerts that have been successful for the DSO include the Doobie Brothers, David Sanborn, Lord of the Rings, and Bernstein Mass. The Toronto Symphony performed Star Wars and featured the actor who played C3PO for its performance. In addition to musical artists and movies, video game themes are an innovative way to capture young audiences. The LA Philharmonic Orchestra put on a live concert event featuring full orchestra and choir performing music from the greatest video games, plus laser and light sequences, video clips, live characters, and a special segment dedicated to retro arcade classics. The concert features a pre-show event with a costume contest, meet and greet with the composers and ‘videotopia exhibit’ chronicling the history of video games. Seasonal Concerts Seasonal concerts have been very successful for the DSO, so it should capitalize on and expand this type performance.

Holiday Series A premier success for the DSO has been “The 7-Eleven Christmas Celebration”, a series of 11 Concerts designed to ring in the holiday season with the DSO and Chorus. Other holiday celebrations, which could function similarly, include Thanksgiving, New Years, Easter, The

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Forth of July, etc. Similarly, holidays do not have to be limited to American holidays. Other ethnic groups can be attracted by performing special celebrations for the Chinese New Year, Cinco de Mayo, etc. Summer Series The Summer Series is another successful concert series performed by the DSO. The series creates a casual environment to enjoy both popular and classical music, with four concerts offered at an affordable price. It is suggested that the DSO also take advantage of a summer concert in the park series, by shifting some of the community performances and classical performances to this programming. To help generate interest and excitement, the summer outdoor concert series should feature artists and/or stars. This would help generate more revenue from ticket sales and corporate sponsorships. In the 2004 DSO patron survey, there was a group of respondents who expressed a strong desire for festivals, outdoor, summer concerts, and looser, more casual family events. This need appeared to be most relevant among the younger respondents who expressed their interest in a somewhat emotional way. The outdoor concerts that the Fort Worth Symphony Orchestra holds bring in more than an estimated $1 million in revenue in ticket sales (for its Concerts in the Garden series that has 17 concerts) That’s $55,000 per concert (not including corporate sponsorship dollars)! Specialty Packaged Concerts Specialty Packages can be created to appeal to groups having a unique set of interests or needs. The packages could contain only a few concerts, such as a series of only one or two, or concerts could be held on a regular schedule, such as every Friday evening.

Date Package The DSO can offer a Date package to those seeking romantic entertainment. Concerts can be held on Friday or Saturday nights for adults only. The works can be popular love ballads. Wine and hors d’oeuvres, or dessert and coffee can be served. Educational Package A series of concerts providing an overview of different composers through time could be an attractive package for those seeking to gain knowledge about classical music. The conductor could accompany the music with short lectures about what the work represents and how it was composed. The conductor can also explain what a novice should listen for in the piece. The Philadelphia Orchestra has an educational package called the ‘Access Series’, a program for the less knowledgeable classical music lovers. The concerts are shorter, and the narrator takes the music apart, explaining the way it works, with the orchestra playing snippets. Movements of pieces are then played in their entirety.

“Jazzed-Up Fridays” The St. Paul Chamber Orchestra offers Friday evening concerts that provide the audience with an opportunity to cap their evening of classical music with jazz and conversation over dessert. Starting with a regular classical music program in the first half, these evenings offer a choice of chamber music in the main hall or a live jazz combo in the lobby after intermission. “Coffee Series”

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The St. Paul Chamber Orchestra offers Friday Morning and Friday Evening Coffee concerts with complimentary coffee and pastries.

Joint Concerts The DSO has recently started collaborating with The Nasher Sculpture Center. This entails a small subset of the orchestra playing chamber music at the Nasher’s auditorium. By collaborating with other cultural organizations the DSO will reap many benefits. The primary benefit is exposure to new audiences. Other benefits include more entertainment for concert-goers, potential networking alliances for the DSO, reduced advertising expenditures, etc. Partnership programs with other art forms have been experimented by symphonies such as Baltimore Symphony Orchestra, Springfield Symphony Orchestra, the Chicago Symphony Orchestra and the Cincinnati Symphony Orchestra. They have all tied up with either art museums or have incorporated themes from the art museum in their presentations to attract the crowd of people who are art enthusiasts, including those who have not attended symphonies. The Baltimore Symphony Orchestra joined forces for the Vivat! St. Petersburg celebration. The three-week festival that began February 13 explored the arts and culture of the fabled Russian city, which is celebrating its 300th anniversary this year. The connection to Baltimore was none other than Baltimore Symphony Orchestra Music Director Yuri Temirkanov, who is also music director and chief conductor of the St. Petersburg Symphony Orchestra. The Russian-born Temirkanov played a pivotal role in the cultural celebration, which involved art exhibits as well as theater, dance, and music performances throughout the city. The Springfield Symphony Orchestra's scheduled a May performance of a semi-staged Aida has been the impetus for a season-long exploration of Egyptian art and culture. The city's museums, public radio and television stations, and schools have joined with the orchestra to host activities ranging from public forums to the installation of a reconstructed Egyptian temple complex. The Chicago Symphony Orchestra has worked for years with the Art Institute of Chicago on a chamber music series that combines performances by CSO musicians at the museum with gallery walks led by Art Institute curators. It literally brings the music into the museum. The Cincinnati Symphony Orchestra has also had great success the last five years with its Music and Masterpieces series. The day-trip package combines an orchestra concert at the Music Hall with admission to the nearby Cincinnati Art Museum, where ticket holders can take in the exhibits and have lunch at the café. Free Community Concerts Currently, the DSO is offering free community concerts. These concerts are a great way for the organization to give back to the community and to obtain exposure. However, it may want to consider using some of these performances for other programming such as a “concerts in the park” type of series. Off Season Performances

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The San Francisco Orchestra has found it success in empowering its community of musicians to organize several concerts outside the regular season, encouraging both creativity and commitment to the organization and audience. The New – York Philharmonic, on the other hand, has organized concerts of odds and ends, novelty pieces and familiar works that do not fit into the regular season, during the gaps in between seasonal offerings. A sample theme was “A Little Nightmare Music” which featured a piece that was the theme for the old “Alfred Hitchcock Presents” television show. It was thus successful in attracting a noticeable number of young people. Rising Stars & Competitions The DSO can have events that provide exposure and social interaction of the next generation of symphony performers to their peers. The artists featured would be budding young artists, who set out to inspire the audience. The DSO has implemented this by inviting young performers such as Shannon Lee, a 12-year-old violinist to promote its encouragement of young talents. The Minnesota Orchestra hosts statewide auditions seeking performers for its “Minnesota Idol” concert. Young classical musicians from across the state are invited to apply for auditions. Six finalists will be chosen to perform with the Minnesota Orchestra at its July 31 “Minnesota Idol” Family Concert. Mixed Media The Saint Louis Symphony Orchestra has undertaken an innovative project of matching symphony music to artwork. The Pictures Debussy’s Printemps—about the surge of energy in spring—evokes a Botticelli painting. The Dutilleux work, which is even more ecstatic, is based on Van Gogh’s “Starry Night.” Musorgsky’s Pictures, a longtime favorite, translates a whole art exhibit into music. Knussen’s concerto paints a different kind of portrait, using as its point of departure 18th-century concerti.

Open Rehearsals Open rehearsals provide a behind-the-scenes look at the magic of music making. The pieces rehearsed are drawn from the week's subscription concerts at the conductor's discretion. Before rehearsal, enjoy coffee and free donuts starting at 8:30am. The Boston Symphony Orchestra, for example, does a strong job of connecting with the community through open rehearsals. These events have allowed the BSO to attract up to 1,800 listeners. Although more investigation must be undertaken regarding the feasibility of such a program in Dallas (union issues restrict open rehearsals for some symphonies), open rehearsal events can build a perception of the DSO as a welcoming institution that the entire community can enjoy.

Non-Traditional Product Enhancements

To truly exploit the opportunity to connect with and please young, diverse audiences, all Non-Traditional concerts should incorporate as many of the following enhancements as financially feasible, within the program objectives. Contextual Programming Contextual programming is ideal for Contemporary Classics. It entails ordering or combining similar pieces in a way that tells a story. Through contextual programming a novice concertgoer can make sense of obscure works and learn about classical music. This is a subtle way of engaging an uneducated audience without greatly compromising the sanctity of the

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traditional concert format. Since many new concertgoers do not understand how a program selection is chosen, contextual programming helps the audience understand what all the music pieces have in common. For instance within the 2005-2006 season, many orchestras may chose to celebrate the 250th anniversary of Mozart’s birth with different pieces composed by Mozart. Thematic programming has always been around but has never been explained. The Brooklyn Philharmonic performed a program “The Music of Shakespeare” in 2003. Also, the San Diego Symphony’s “Light Bulb” series presents a story behind each piece of music that is played. The more an audience understands “how a program is selected” the more that audience will value the performance. Performance selection has always been one-sided and orchestras have been contemplating allowing feedback from the audience for next seasons themes. Pre & Post Events Concerts can be made more socially appealing by offering pre- and post-performance events. Events offer a great opportunity for social interaction among Initiators. Patrons can attend talks with music specialists and interviews with renowned guests before concerts to gain exciting new insight into the music to be performed and the music makers who perform it. Pre-Concert Informational Patrons can attend talks with music specialists and interviews with renowned guests before concerts to gain exciting new insight into the music to be performed and the music makers who perform it. Dramatization of Classical Music Orchestras have been integrating classical pieces with theatrical elements such as narration, drama, and dance, with a great deal of success. The Oregon Symphony’s “Front Row Center” series concentrates on how Vienna, Moscow, and Paris have influenced the politics and culture, which then influenced the composer’s work. Chamber Music PLUS, a Hartford drama company, provides professional actors who act out scenes, both real and imaginary to dramatize what is happening within the music. Visual Enhancements The most controversial development in classical music is the use of visual enhancements, such as scenery, lighting and video. Visual enhancements can either “add artistic element to the concert” or “magnify the performers.” Techniques that add artistic element include banners, flags, projections and ambient lighting to the stage. The Kronos Quartet is will known for integrating video and other visual elements into its concerts. An example of magnifying the performers occurred when the Houston Symphony installed “the nation’s first permanently installed video system” in May 2004 that included mounted cameras, a control room, and projection screens above the stage. Several music schools such as the University of Michigan School of Music and Interlochen Center for the Arts have used a highly theatrical concert format called collage concert, where each piece of music is continuously connected to the prior piece of music. At each transitioned piece of music, lighting cues shift to signal the next ensemble. The DSO has had past success with the performance of Igor Stravinsky’s “Firebird Suite” and should continue to incorporate such elements in their programs. Embedded Interpretation Newer audiences want help becoming better listeners, but aren’t achieving this through the programs provided by the orchestra. Through embedded interpretation the audience can

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learn about the music during the performance to become better educated. For example, the new Contemporary Classical product line can have the conductor give details of the background for the artist and the music to draw the audience closer to the music. The Atlanta Symphony offers a series of living composers where a videotaped interview with the composer, lasting about 4 to 5 minutes, is played before each piece of music. The Concert Companion (“CoCo”) takes embedded interpretation to the next level by providing a wireless PDA device that provides real-time interpretation of the music piece as it is happening. This allows newer concertgoers to learn while the traditional audience may opt not to use the CoCo and simply enjoy the concert visuals.

Musicians’ interactions in-between programs Similar to the NY orchestra, the DSO musicians can be involved in some interactions with the audiences if the musicians' contracted number of performances has not been exhausted.

Behind the Scenes Tour Whether offering exclusive back stage passes or filming a behind the scenes experience, the DSO can educate consumers by showing how a symphony operates. The DSO can come up with programs for airing that would make them more popular among the consumers. It would be a wonderful means to achieving exposure and adding a personal touch as people can get a ‘behind the scenes’ look at how the symphony actually works. Something along these lines has already been implemented by the San Francisco Symphony in collaboration with the director Michael Tilson Thomas. The program, called ‘Keeping Scores,’ is a five-year multimedia project aimed at providing audiences of today with a connection to classical music and the powerful emotions it conveys. The June 16 telecasts feature MTT and the SFS in a two-part exploration of Tchaikovsky's Symphony No. 4. The first part, subtitled ‘The Making of a Performance,’ is an engrossing documentary that demystifies how a performance of a great piece of classical music is created. It is a viewer's "behind-the-scenes" pass to witness firsthand how a performance unfolds and the preparation it takes to play this music. Along the way, MTT explores the symphony's four movements, providing commentary on the powerful emotions embodied in the music and how it speaks to audiences today. MTT also introduces many of the members of the orchestra. If viewers ever wondered what an orchestra's librarian does or how much a piccolo player might agonize over a brief solo, ‘Keeping Scores’ provides answers.

Food & Beverages provided (cost included in ticket price) Providing food and beverages before, during, and/or after concerts has been mentioned earlier and is currently provided by several of the most successful orchestras.

Singles Program

The Oregon Symphony Orchestra has had success with its Soiree® program targeted to singles. Soiree members are invited to exclusive pre- and post-concert parties, intermission receptions and fantastic concerts with the conductor, Carlos Kalmar, and the Oregon Symphony. Three Year Product Plan The 2005-2006 concert season is already scheduled, yet the DSO could experiment and test future programming ideas by purposely adding 'holes' (e.g. leaving some concerts open or flexible) to the programming schedule.

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Over the next three years, the suggestion is to shift resources from Traditional to Non-Traditional performances. Non-Traditional performances, including Contemporary Classics and the Deloitte Pops Series, will comprise a majority of concert time by the 2007-2008 season. Because the DSO’s sales per concert for Pops run approximately 44% higher than for classical, the DSO has the opportunity for substantial revenue gain by extending the number of Pops performances. Above is the suggested shift in programming.

Pricing Strategy

Price is not the largest issue facing the four suggested target segments. Because of the DSO’s brand, image, and value perceptions, in addition to its high fixed operating expenses, lowering the subscription or single concert ticket price would not be in the DSO’s best interest. Additionally, price does not seem to be a critical issue for several of our target segments, based on the Knight Foundation’s Classical Music Consumer Segmentation Study. As our primary targets include Initiators from Segments 1 and 3, some incentives may need to be made in order to generate higher revenue. The pricing objective and strategy for the DSO’s current situation is to focus more on increasing patron attendance by taking up smaller margins. This can be done for Initiators who are purchasing tickets by giving a free ticket for every fifth person invited. This personal incentive will likely encourage the Initiator to continue inviting Responders thus increasing patron attendance in at least three target segments. Potential Responder patrons belonging to Segment 2 are no less important. These individuals have strong ties with their local orchestra; however, they are not as motivated to attend a concert for the music as they are for the social exchange with friends and families. These Responders will hopefully be reached by their Initiator friends and family. Since most individuals in Segment 4 do not currently attend orchestras and do not share interest in classical music concerts with family and friends, they will need to be reached through other marketing strategies such as Distribution and Promotion. Pricing Adaptation

Over the years, many external factors may have caused DSO to raise prices in order for it to remain profitable. Our main objective for DSO now is to gain more patrons, to tap into lifestyles of the younger audiences, and to encourage current patrons to bring more friends and families to DSO. Price could become an entry barrier for those who never experience the DSO. By offering more competitive prices, a larger audience will be able to attend as the experience is more affordable. Based on the research, we have following suggestions for an effective pricing strategy that could attract more patrons to DSO. Additional Research The first step for the DSO is to follow a price-adjustment strategy after developing price models on its patrons. Price elasticity of demand for concert attendance differs based on the seating levels. We need to know which seating levels have most occupancy and which generate the major chunk of revenue. It will be helpful to use Tessitura and determine which seats are sold out initially for concerts on an average. The resulting data will be able to indicate which seats are preferred by most of the DSO patrons and which seats actually generate the majority of the revenue.

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The Survey on ‘Impromptu’ did indicate that patrons are price sensitive. A similar survey conducted among all DSO patrons, using the Van Westendorp pricing model, will help in determining the optimal price for concerts. The pricing needs to be categorized by the type of concerts (Classical, Pops, Family series) as they probably attract a different patron base and vary in demand. It is also important to remember that absolute prices may not turn out to be an issue across the patrons, which can suggest that it’s the value that needs to be considered. Psychological pricing with added incentives might help wherein the pricing packages look appealing to the patrons so that they buy more tickets. To summarize, the first step for the DSO would be to determine optimal pricing based on different types of concerts and different seating levels through price modeling. Revenue can then be maximized by adjusting prices based on the concerts and between seating levels. The goal should be to not only adjust prices but also increase and promote the DSO’s perceived value through innovative products and services. Group discounts and referral programs help build the DSO’s brand name and encourage patrons to share their musical experience with friends and family. Impromptu

Based on an online survey (see Appendix C) of 124 respondents who received the Impromptu flier from the DSO (~10% response rate), cost concerns are the major deterrents to purchase. Respondents cite negative aspects of the program that include high cost and the belief that they will not attend DSO events frequently enough for it to be a good value for their money. The average number of concerts that respondents predict they would attend under the Impromptu program is between 1 and 2 per month, indicating that Impromptu may be offering “too much symphony” for the average concertgoer. A Van Westendorp pricing analysis reveals that the optimal price point for the monthly fee is closer to $35 a month. Many believe that they won’t be able to “get their money’s worth” at the current monthly fee of $50. Also, respondents note that the program set-up fee is high, and many are reluctant to pay this up-front cost. To improve the pricing appeal of Impromptu, the DSO could offer discounted monthly fees for couples and families. At the current membership fee, a couple would spend $100 per month to attend concerts together under the Impromptu program. Offering a price discount when a person buys multiple Impromptu memberships may persuade more to join. Several mentioned that the program would be beneficial for their children but does not fit in their current budget as priced. Also consider lowering the monthly fee to $35 and decreasing or eliminating the up front set-up cost. People overwhelmingly believe the flexibility that Impromptu offers is a major benefit. Unfortunately, they do not think that the program is a good value at its current cost. Many would only attend one or two concerts a month if they were to purchase an Impromptu membership, making the per-concert cost quite high.

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Current DSO Distribution

Improving Inputs of the Supply Chain

Inputs into the DSO supply chain include the musicians, the music director and the City of Dallas. The DSO maintains a favorable standing with the musicians and their union, based on prior negotiations. The union must provide the highest quality performers who can adapt to a less traditional format. Communications with the musicians union should be very open and bi-directional. As the DSO begins to move toward a more contemporary format, the union should understand the financial impacts of resistance to changes from the traditional format, yet be able to provide input into solutions that could provide the best experience to the patrons without compromising the integrity of symphony performances. Uncertainty about a new music director for the 2006-2007 season provides a potential risk within the supply chain. The search for a new music director should use a supply-chain theory of gathering input from each part of the chain that is relevant (i.e. musicians and feedback from patrons). Based on feedback from the Knight Foundations studies, contemporary performances are becoming more popular and therefore are in higher demand than the traditional performances. Finding a music director who is open to more contemporary formats and to feedback from the DSO, its patrons, as well as the musicians would help create a strong supply chain bond that would work well to provide the highest quality service that will lead to high satisfaction of the DSO patrons. The City of Dallas is the current owner of the Meyerson Symphony Center and provides staffing for the Meyerson Symphony Center during performances. The relationship with the city is a strong one that was developed through the construction of the center and the presentation to the City of Dallas. Like all inputs in the supply chain, constant two-way communication is critical in maintaining supply-chain strategy and will be critical in providing the highest quality of distribution of service to the DSO patrons that attend the Meyerson Symphony Center. Improving Outputs of the Supply Chain

The patrons are the best source of feedback for quality and satisfaction of service. The traditional way of doing business was providing a service that the company is best at providing. With customization, customers demand the flexibility to satisfy their needs; otherwise they can easily find substitutes. The easiest way to understand the needs of the patrons is through feedback. Every touch point with the patron is an opportunity to receive feedback. Conventional methods of feedback can continue to be used through customer comment cards in the mail and comment sections on season ticket forms, although responses will be very low. Non-traditional methods should be considered that would both inspire younger segments and provide higher responses. Online feedback can be beneficial if done in an exciting and rewarding way, through a concert review section that can allow patrons to share their experience on the DSO website with other patrons. Quick polls can be great for quick, directional feedback on customer preferences. An example of a quick poll is provided from a CNN website that allows the visitor to quickly make a selection to an answer. While not scientific, it is a quick way to receive feedback. Another method is interaction with the patrons during intermission or after the performance. DSO staff, executive and operations, should be encouraged to ask the patrons how they liked their performance and what could be better or what should be changed. Providing feedback as a patron is very fulfilling and can

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provide information flow from the patron back to the DSO organization. This information, in turn, can be shared with the musicians and the conductor. Finally, the patrons should utilize the Patron Service Center for feedback. Since the Patron Service Center conducts outbound telemarketing services, a quick question regarding how the customer enjoyed his/her last experience at the DSO should be asked. Every touch point with a customer should not only be about closing a sale, but should also provide at least one key point of feedback to the DSO to continue improvement and complete the knowledge-sharing loop needed in the service supply chain model. The current CD producer and distributor, Hyperion Records, appears to be having financial troubles with its failure to manage recording funds. The online distribution channels appear to be either through the Hyperion website or directly from the DSO website, although they have very limited presence in brick-and-mortar and e-tailer channels. This is a weak link in the supply chain for the CD and digital music distribution channel. The DSO should consider what costs would be incurred through an exit strategy with Hyperion Records versus the benefits of a more robust production group with greater e-tailer and brick-and-mortar presence through online and offline distribution channels. For instance, both Harmonia Mundi and Warner Classics have e-tailer and brick-and-mortar partnerships worldwide, which include many retailers such as the giant CD etailer Amazon.com. The exposure within the Amazon.com channel is very prominent and utilizes targeting methods extremely well. Online e-tailers can provide sales statistics to help better target listening tastes and classical listening trends by region. Furthermore, comments are posted on the e-tailers’ website which provides feedback from the end consumer that the DSO can utilize to strengthen the communication within the supply chain. Product Distribution Enhancements

The DSO may want to investigate offering new forms of digital media via its own website and partnership websites. Emerging digital media forms include: live or recorded web casts of streamed concerts, Super Audio CD, MP3s, cellphone ring tones, XM satellite music, and educational institutions’ websites. Customers could register for complete access to music of the DSO, for a nominal fee. The DSO would also gain any patron information required in the registration via SymphonEmail. Long-term Potential Distribution Strategies

Due to the DSO’s limited annual budget, some distribution strategies are not possible at this time. Two of these strategies include the consideration of the DSO launching its own record label (e.g. LSO Live – London Symphony Orchestra and SFS Media – San Francisco Symphony) or embarking on a multi-media project (SFS Media). SFS’s annual operating budget is at least two times that of the DSO.

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Promotion Strategy

Although the DSO distributes a great deal of advertising information to capture the interest of people in the DFW area and employs visually pleasing graphics and designs, the organization could place more emphasis on the benefits that the consumer will gain as a result of attending a symphony concert. Many people who have not yet experienced the symphony may be wondering, “What will the Symphony do for me?” or “What will this experience add to my life?” Current promotional materials primarily inform and remind consumers about symphony events, relying on well-known artists, selections and date/time information to draw consumers to the Meyerson. Many of the promotional materials presuppose an existing knowledge of symphonic content and composers. The promotional materials fail to make the best use of the persuasion aspect of marketing. The “look” of the DSO’s communications materials is incoherent. Any new strategy must be sure to convey a consistent appearance that is clearly recognizable and says, “This is the DSO!” The DSO may benefit from a more direct link to its mission in its promotional materials. The mission statement of the DSO is “To entertain, inspire, and change lives through musical excellence.” However, this mission statement is not adequately emphasized in the DSO’s brochures and print advertisements. This mission should be clearly communicated to the community, and thus promotional initiatives should more explicitly convey how the DSO will satisfy customers’ needs and wants. The DSO will entertain them. It will inspire them. It will change their lives! The DSO’s mission should be pervasive throughout all aspects of its promotional campaign and should be prominently featured on the organization’s website as well. Also, because community is such a strong focus of the DSO’s mission, the organization may want to consider featuring this aspect of its strategy more prominently on its website. Other leading orchestras, such as the Boston Symphony Orchestra, feature a direct link on their websites to address community issues. Although an abundance of community information is currently presented on the DSO’s website, the organization could benefit from consolidating this information and making it more easily accessible to site visitors. The DSO website may also be enhanced by providing a special link or page for corporate sponsorship, which would allow businesses to more easily acquire information regarding the advertisement opportunities available through the DSO. Such a link might provide facts about the audience that a corporation could reach, the impact of advertising through the DSO on their business and the associated costs to advertise. Additionally, a preexisting conception among those not familiar with symphonic productions may be that the symphony is expensive to attend and therefore not an affordable entertainment option for the average community member. Although some promotions communicate the affordability of the DSO offerings, virtually all should strive to educate the public about the relatively low cost of attending such a transformational cultural event. The DSO has begun to offer events that appeal more widely to ethnic community members, and the organization should continue to offer additional events of this kind. As a demographic shift continues to occur in the North Texas area, it will be vital for the DSO to expand its traditional audience base, which has historically consisted of affluent Caucasians. Additionally, it’s important that the DSO promote its cultural events to ethnic groups through

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targeted media, such as the Hispanic Journal, an award-winning Hispanic publication in Dallas. Lastly, a gap exists in the promotion and sale of DSO recordings. Various recordings are currently available on the SymphoneStore. The Future of DSO Promotion – Re-imagined

The objective of the DSO’s promotional strategy should be two-fold. On the one hand, they need to create more awareness and position themselves as “a Premier Cultural Experience

Worth Sharing”, i.e., align the DSO’s image to a cultural experience that people would like to attend and also bring their family and friends. At the same time, they also need to promote the DSO products to a larger base and attract young blood into its patron stream. Developing a brand and creating brand awareness is a difficult task. A brand is not only a promise that a company makes to its customers, it is also a memory that a person has about a company based on the interaction he has with the company in all forms, whether it be advertising, product usage, word or mouth etc. In order to create a positive memory, the company needs to make sure that each and every touch point provides a positive and consistent message to its customers. In order to reposition itself, the DSO needs to make sure that all communication it has with its patrons portrays it as “a Premier Cultural Experience Worth Sharing”. All four promotion tools- advertising, public relations, sales promotion, and personal selling- should have consistent messaging. The message delivered in advertisements, the experience that a patron has with the patron service center, the experience in the Meyerson, the press releases delivered, the concert experience etc., should all position the DSO as ‘an experience worth sharing’ in the minds of its patrons. Advertising

Advertising can be used by the DSO for both brand positioning as well as to promote its upcoming events. For a not-for-profit organization, like the DSO, budget is always an issue. Therefore it is imperative that the DSO use advertising in a cost-effective manner. Whenever or not a specific event is advertised, it can also use that opportunity to promote the DSO in general and create awareness among that part of population which has not heard about it before.

In all the advertisements that the DSO places, the message and the theme should be consistent with the positioning statement. The underlying message in all the ads should portray it as a cultural experience that people enjoy and whose value increases when it is shared. These messages should target the emotional aspect of human psychology. Instead of asking them to come and enjoy the concerts, people should be shown having fun together and enjoying the DSO experience. The following are the advertising suggestions that we have for the DSO:

• Print Advertising: A week before the concert, the DSO should buy a half-page advertisement in Sunday morning editions of the Dallas Morning News and the Fort Worth Star-Telegram to inform more people of the upcoming event. In addition, inserts could be placed in the New York Times and Wall Street Journal.

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• Concert to concert advertising: The DSO should be advertising other concerts to current concert attendees. It could have signs, banners, brochures, etc. in the Meyerson, all promoting upcoming concerts. Proper signage can be affordable, and through creativity can make a lasting and powerful impact.

• Online Advertising: We suggest regular online advertising on the WSJ, the New York Times, the Dallas Morning News, and the Star-Telegram. In addition to these newspapers, the DSO should be featured on the Dallas official Travel/ City guide and promoted on travel websites (e.g. Expedia, Orbitz, etc.) in the ‘things to do’ sections.

• Partnership with local hotels: The DSO could form partnerships with local hotel/motel establishments (e.g. Hilton, Radisson, etc.) to include concerts in their special packages under a ‘classic night out’ heading and package it with dinner at a classy restaurant (something matching up with the type of music the DSO is playing on that night, traditional/ non-traditional). Additionally, the DSO should invite all local hotel concierges to the first show of the season, free of charge, to increase the likelihood of being a preferred source of entertainment recommended to hotel guests. Concierges are more likely to recommend something they are familiar with and have personally seen in action.

• Radio Advertising: Use a variety of radio channels, in addition to WRR 101.1 FM, for radio advertising, to enlarge the target base. We suggest using stations which aim at the target audience (e.g. Mix 102.9, KERA 90.1 and Jack FM for the Generation X/Y concerts).

• Big, classy posters announcing the upcoming DSO events could be placed in the Meyerson’s lobby as well as at other arts locations, since many of the arts organizations share their patron base with the DSO.

• The current special discount program/gift certificate/vouchers should be advertised on the website and during promotional spots (radio, print and TV), targeting organizations that have a diverse base such as universities and corporations.

• Elevator & On-hold Music- The DSO could service many downtown Dallas businesses by playing recordings in elevators and as office on-hold telephone music. Since the duration of the music listening would be short, there would need to be a frequent recording saying "this music is brought to you by the DSO".

• Advertise the talent they have- We would suggest the DSO to advertise and promote the talent it has in its musicians. Along with fliers, which are not accessible to all potential patrons, advertise the talents in local newspapers etc.

Advertising Traditional Programming The media that the DSO is currently using for advertising are well suited for its traditional offerings. A list of suggested advertising for the traditional programming includes:

• Personalized emails to patrons on upcoming concerts.

• Advertising the program on the website.

• Radio spots on WRR 101.1 (Classical) two weeks before the concert.

• Using Patron Service Center to call up patrons who have purchased classical tickets in the past.

• Quarter-page ads in the DMN and inserts in the WSJ and the Sunday NYT a week before the concert

Advertising Non-Traditional Programming

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Based on previous recommendations, the DSO needs to develop some Non-Traditional programming, in order to attract a younger audience. Listed below are the media that can be used to advertise these programs and the approximate costs associated with them:

• Television- Cable ($150,000): One of the areas the DSO should consider is buying two flights of cable advertising. This is an inexpensive alternative to buying the local main channels. The local cable company has some packages that include several channels for a wider demographic base. These packages can be as much as 50% less than buying network television 30 second spots. The flights should run going into the holiday season, so they can promote the holiday concerts and the purchasing of vouchers and gift certificates as gifts. And the second should run announcing the Family Concerts, Casual Concerts and the following season.

• Television- Network – ($50,000): We suggest purchasing the break slot in the morning news program. This is the slot where, as they go to the break, the sponsor’s logo is flashed on the screen for 10 seconds and a voice-over says “Sponsored by the Dallas Symphony Orchestra offering a premier cultural experience worth sharing.” This will increase awareness of the DSO. Again purchase two flights, one going into the holiday season and another announcing the Family Concerts and Casual Concerts as well as the upcoming season.

• Radio – Traffic ($15,000): Sponsor traffic reports, much less expensive than 30 second spots. They are normally during rush hour drive so reach is huge. We suggest purchasing on KRLD, KERA, WBAP, KLUV and KISS-FM, the stations that offer traffic reports and whose demographics match the DSO demographics. The DSO can customize the message to the audience targeted. Any new program that is introduced can be introduced this way.

• Print– Dallas Morning News: Maintain the current program with the DMN, 1/4-page ads selling individual concerts appear in Sunday publications promoting the following week’s concert offerings. In addition, promote the upcoming concerts in the Star-Telegram as well. This keeps the offerings out there for current and potential patrons to view.

• Print– New York Times: Maintain the 11,000 brochure inserts which are included in The New York Times for subscribers in the DFW area. The demographics of the DSO patrons are very similar to the demographics of the local NYT subscriber.

• Print– Additional: We also suggest that the DSO start putting inserts into the Wall Street Journal in the DFW area. Ad placement in the Dallas Business Journal could be beneficial, since it is read by businesspeople across the Metroplex. Another newspaper that targets to the higher income demographic is Park Cities People, which is primarily distributed in Highland Park and University Park. Some other areas, with similar newspaper offerings, to be considered are Lakewood, Lake Highland, West Plano, and Preston Hollow.

• D-Magazine: D Magazine is aimed at the same demographics as the DSO. We suggest purchasing two ads for the DSO - a full-page ad announcing the new musical director and another announcing the new subscription series, both Pops and Classic series.

Media and Message for the DSO programming The non-traditional products include the contemporary classics, pops series, family concerts, distinguished artists concerts, Generation X/Y pop culture, off-season performances, joint concerts, specialty packaged concerts, and rising stars/competitions. Since these products are targeting younger, more diverse audiences, we feel each product needs to have its own unique message and medium.

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• Contemporary Classics: The message here is a “new spin on traditional classics, with modern composers.” We feel radio spots on stations such as KNTU (jazz/classical), KETR (adult cont., jazz/alt. rock), WRR (classical), and KVIL (light rock) would be appropriate to reach segments 3 and 4. Additional information on this programming should be included on the DSO website, with the promotion tied into the demographic this is aimed towards.

• Pops Series: The message here is “features light classics, Broadway tunes, movie scores and some of the biggest names in popular entertainment.” Radio spots on KNTU (jazz/classical), KETR (adult cont., jazz/alternative rock), KVIL (light rock), and KDMX (hot adult cont.) will reach segments 2, 3, & 4. Additional promotion/information should be included on the DSO website promoting this series.

• Family Concerts: The message here is “fun for adults and kids of all ages.” Radio spots on KLTY (Christian contemporary), KVIL (light rock), KDMX (hot adult contemporary), KMKI (radio Disney), and WBAP (news/talk) will reach parents in segments 1, 2, 3 & 4. Additional promotion/information should be included on the DSO website.

• Distinguished Artists Concerts: The message here is “compelling performances by some of the world's finest musicians and ensembles.” Radio spots on WRR (classical), KETR (adult cont.,/jazz/alternative rock), and KOAI (smooth jazz) will reach segment 3. Additional promotion/information should be included on the DSO website and should be sent to current patrons in the form of a direct mail piece.

• Generation X/Y Pop Culture: The message here is “non-traditional musical artists, movie themes, video game themes.” Radio spots on KDMX (hot adult rock), KTPW (Christian alternative rock), KRBV (top 40), KDGE (new rock), KLNO (Mexican regional), and KKDA (urban contemporary) will reach segments 2, 3, & 4. Additional promotion/information should be included on the DSO website. The use of radio partnerships is important here, since you will be able to target the specific audience and promote the DSO to individuals who would not be your typical patron.

• Seasonal Concerts: The message here is “let the DSO provide the soundtrack for your holiday celebration.” Radio spots on KVIL (light rock), KDMX (hot adult cont.), and WBAP (news/talk) will reach segments 1, 2, & 3. Additional promotion/information should be included on the DSO website. A secondary promotion to be considered is having a subset of the symphony perform at the three local Dallas malls in late November/early December to promote the concerts.

• Free Community Concerts: The message here is “music is a tie that bonds our diverse community; bring your family for an exciting evening of music in an informal neighborhood setting.” Radio spots on WRR (classical), KHVN (black gospel), KXEB (multi-ethnic), KHCK (tejano), and KVIL (light rock) will reach segments 1, 2, 3, & 4. Additional promotion/information should be included on the DSO website.

• Off-Season Performances: The message here is “come hear the musicians' favorite pieces.” Radio spots on KNTU (jazz/classical), KETR (adult cont., jazz/alt. rock), WRR (classical), and KVIL (light rock) will reach segments 1 & 3. Additional promotion/information should be included on the DSO website and should be sent to current patrons in the form of a direct mail piece.

• Specialty-Packaged Concerts: The message here is a “great idea for date night.” Radio spots on KTCK (sports/talk), KOAI (smooth jazz), and KVIL (light rock) will reach

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segments 1, 2, & 3. Additional promotion/information should be included on the DSO website and should be sent to current patrons in the form of a direct mail piece.

• Joint Concerts: The message here is “experience the DSO and ____ all in one great event.” Radio spots on KTCK (sports/talk), KOAI (smooth jazz), and KVIL (light rock) will reach segments 3 & 4. Additional promotion/information should be included on the DSO website and should be sent to current patrons in the form of a direct mail piece.

• Rising Stars Competition: The message here is “see tomorrow’s stars today.” Radio spots on WRR (classical) and KOAI (smooth jazz) will reach segments 1, 2, & 3. Additional promotion/information should be included on the DSO website and should be sent to current patrons in the form of a direct mail piece.

Sales Promotion

In order to attract the Initiators and, through them, the Responders, the DSO needs to provide them with some incentive in form of deals such as:

• Price-pack deal: Offering patrons a certain percentage discount if they buy six or more tickets for a concert. This will encourage Initiators to bring in more Responders.

• Discount for students: Currently, the DSO offers a 50% discount to students on their tickets, but this discount promotion is not very well advertised. This promotion should be more widely advertised in the college magazines/newsletters, music departments, cafeterias, and student organizations etc. An arrangement should be made so that the students can purchase their tickets on the university campus as an alternative to buying them directly through the DSO’s website or the box office. A partnership like the one Six Flags has with the student governing body of UTA would make the DSO seem more approachable to the students.

• Vouchers: The DSO does have ticket vouchers available, but no information is available on the website or in the promotional material. In addition, the vouchers are currently used only for fundraising in local schools, not in the form of a gift certificate for all patrons. These vouchers can be promoted as gift certificates, a hot new item with high applicability, with all the information on their website. These gift certificates not only will provide the music lovers a gift option but may also bring some potential new patrons to the DSO. These potential patrons can use the vouchers as per their choice with no restrictions on the type of programming.

• Group sales tickets: Again, the DSO has very good discounted offerings available but they are not well publicized. Apart from advertising the group ticket sales on the website, the focus should be on selling group tickets to employers, senior house/community managers and universities and schools.

• Refer a friend program: This program, which is being used by various organizations across different industries, has been very successful to increase the target base and revenue. Based on the referred patron’s purchases, you get a discount or an incentive. Since the concert will be referred by some known person, there is higher credibility attached from the point of view of patrons. And there are higher chances to reach the potential customers based on the theory that people socialize with others sharing the same mind frame/preferences and the assurance that the message is being conveyed to the right person.

• Take a friend with you: Our target customers are ‘Initiators’ and ‘Responders’ both, and we know that these segments enjoy both the music and the social component attached with going to a symphony concert. The ‘take a friend’ program, which would be offered

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at selected concerts where the ticket sales are not anticipated to be high, can encourage more patrons to come and enjoy the concert. This increases the exposure to the DSO among Responders. This program can also be used to provide incentive to the patrons (Initiators) who purchase more than six tickets at a time.

• Create your own package: This package will offer flexibility and a very prized commodity to its patrons. It will give patrons the flexibility to choose any six concerts (traditional as well as non-traditional programs) they want. Since patrons get to choose from all concerts offered by the DSO, they are not restricted by choosing a pre-packaged subscription. This was launched July 2005.

Public Relations and Publicity

The DSO has at its disposal the following tools, which can be used heavily for public relations and publicity: Press releases

In order to gain new patrons and donors, and to provide up–to-date information to its current patrons and donors, the DSO needs to indulge heavily in public relations. It is already doing a good job in this area. The media relations department arranges numerous speaking engagements throughout the year to promote a positive image of the DSO. It also coordinates local, national and international media coverage for the DSO. The DSO recognizes that it’s important to be prominently featured in publications around the DFW area to remain current and relevant to existing and potential patrons. It is suggested that the DSO should continue doing these activities. Though these efforts are fruitful, we found that not all events and activities of the DSO are covered in the press releases (at least those available on the website). For example, we did not find any press release relating to the DSO and FWSO combined concert for the new international terminal dedication at the DFW airport. This event has a press release on the FWSO website and has been given proper coverage. We would also suggest that the DSO publicize its community involvement and educational programs. The press releases that it produces should also emphasize the positioning statement “a premier cultural experience worth sharing.” This does not mean that this positioning statement should be explicitly mentioned, but instead the DSO should connect the information it gives out with this positioning and create an impression of a premier cultural event in this area.

The Meyerson

By providing a meaningful and comfortable experience to its patrons, the DSO can even use Myerson for its public relations and publicity needs. Again, the Meyerson experience for the patrons should be such that they associate it with a cultural experience that they want to share with their family and friends. Listed below are a few things that can be done:

• Try to convert the time a patron spends in the Meyerson, waiting for the start of the concert, to be an experience on its own. The starting point could be providing comfortable seating outside. People can sit, chat and enjoy the beauty of the Meyerson. As discussed previously, use banners to advertise upcoming events in a creative manner. This would also give people something to think about.

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• As many of the DSO patrons are elderly, special facilities should be provided for them. Elevators should be clearly marked and reserved for people who need them most.

• There should be more directional signs inside the Meyerson. This would make it less awkward for those who are attending concerts for the first time.

• Inside the Meyerson there should be people/ushers readily available to help patrons in whatever manner they need. These people should not wait for visitors to come and ask for help; instead they should initiate the interaction and offer any help needed. These employees would also be a very good source of immediate feedback from the patrons. Currently the DSO is in process of hiring ‘concert concierge’, one of the new positions which hopefully would help implement this suggestion.

• The DSO could make more money by selling autographed CDs and posters before and after each concert. Not just selling in the store, but selling out in the open where concert goers are mingling. Also, give people stuff to buy. Current patrons are likely to be pretty fanatical. Sell them promotional items, like mugs, T-shirts and hats; things that let them show off their knowledge of and love for classical music.

Website

Apart from the press releases, the website is also a major public relations tool, though it can also be used as a conduit for other promotional activities. The key for a non-profit organization is to draw its customers to the website and build a relationship with them. To achieve this task, it is very important to build a sense of community and expose the website to the target audience by offering relevant information and services specific to their needs. The website should be able to convert a one-time customer into a repeat customer by providing easy navigational tools to the most important services and extend the user’s time on the website. The website is the face presented to the outside world. Most people are now comfortable going to a company’s website to get as much information as they can about company’s products and services to determine whether or not they want to buy. A website that is not user friendly and does not provide enough information might turn off a prospective customer. When a customer’s specific needs are addressed, the tendency for the customer to return to the website increases and thereby helps the organization to build a strong relationship with the customer. Once you have a satisfied customer, they tend to influence their friends and family and help promote the services provided. The re-design of the web site is a great opportunity for the DSO to optimize it to its fullest, as a great promotional/public relations tool. The following are a few promotional suggestions for the DSO:

• One website for all the information: Maintain one comprehensive website and display all relevant information via the same website instead of displaying it in a new window for each click on a hyperlink. Many customers have “Pop-up Blockers”, hence by avoiding pop up windows to display important information, the website may need to be re-designed.

• Website consistent with the positioning statement: The website should be designed in a manner that conveys the positioning the DSO wants in the mind of its patrons, both current and prospective. It should not only provide information pertaining to music, but also its association with other art and cultural organizations to emphasize the cultural experience that people can obtain. Events like concerts with the Nasher Sculpture Center,

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Sixth Floor Museum, etc. should be given extra coverage. Also links to other cultural organizations in the Dallas area should be present.

• Easy to navigate website: When we navigate the DSO website, we find that it has a lot of interesting and useful information, but this information is not easy to find. The website has interesting sections like “featured musicians”, “patron reviews” and “musician reviews” but they are deep inside the site and a visitor has to click a few times before actually getting there. We would suggest that the DSO work on the navigation aspect of the site and try to give an idea to the visitor what kind of information is inside each section. A site map will be very helpful to any person who is not searching for any particular information and would like to get a snap shot of what is available on the website. The availability of a collapsible mouse-over on the navigation bars would increase the friendliness of the website.

• An interactive and interesting website: “The first impression is a lasting impression.” Keeping this saying in mind, the DSO should try to provide an interesting interface to its patrons. As on the DSOkids website, the DSO’s main website can also have some interesting music to provide a musical experience to its visitors. Use of software like flash would enhance the attractiveness of the website and would help in creating a musical mood. Visitors can also be given an option of personalizing the home page with the information that they are most interested in.

• Chance to donate online and thank the supporters: Provide a link so an individual can donate to the DSO online. More and more not-for-profit organizations are providing that opportunity to its patrons. A local healthcare system has increased its donations between 5% - 10% since offering this feature online. Thank the supporters for the donations to the orchestra and emphasize on how important their contributions have been for the organization and the community

• Mission and vision statements: The DSO should include on its website a section explaining its mission and vision statements to its present and prospective patrons. It would give an idea to its patrons and, especially, its donors of what the DSO stands for and would be a good public relations tool. In addition, the DSO might want to expand on the meaning and origination of its mission and vision statements. Heavy words used in the mission and vision statement might confuse visitors, and therefore an easy to understand explanation would be appreciated.

• Audio and video clips: Audio and video clips of DSO performances should be accessible to people visiting the website. This would give an idea to the patrons, particularly the first timers, as to what to expect in a concert.

• Educate the customer about the product, the organization, and its history: There should also be information about the music that will be played in the concert. We noticed that presently the only information that is available about an upcoming concert is the name of the conductor and the pieces to be played. Not all audience segments targeted by the DSO have enough prior knowledge about the music and the composer. Instead of ‘googling’ for the information, it would be helpful for the patrons if they could get the information at the DSO website itself. Also, this would increase traffic to the DSO website.

• Search engine optimization: The DSO should make sure to include all major keywords, which a person might use while searching for a local orchestra, in its website. It would ensure that the DSO will appear in the first page of search results. The words that we think should be present in the website are: DSO, Dallas, symphony, orchestra, Texas, TX, culture, experience, music, concert, romantic, event, musician, composer, etc.

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• Click-thru data: The DSO should collect the data about the way the visitors navigate through the website. This would provide insight into the way its website is being used by its customers and the areas where improvements can be made. It can also help the DSO in determining what information a person seeks before making a purchase.

• Bulletin board: A bulletin board associated with the DSO website will provide its patrons an opportunity to meet like-minded people and discuss music and concerts with each other. In these bulletin boards, the DSO should also provide people an opportunity to ask questions and interact with the musicians. Create a weblog or a discussion forum for users to comment about the performances and concerts or Quick review or Online survey about performances recently attended. A good example is “Yak with Yara,” a Public Discussion Forum offered by Toronto Symphony Orchestra.

• DSO in the news: The website should also have a section about what major publications (both local and national/international) and well known people have to say about the DSO. Perhaps offer links to the publication where the DSO is mentioned, or receive permission to print the article on the DSO website. Such a section will prove to be a major publicity tool for the DSO, as it will create a positive image in the minds of the patrons and donors.

• Co-promotions: Build a strategic alliance with American Airlines and offer promotions similar to those offered by London Symphony and British Airways. An example promotion would be to purchase a classical season package resulting in eligibility to win a trip to the summer concert series at the Vail Festival in Colorado.

• Bilingual website: The DSO can also create a Spanish website, similar to the Toronto Symphony’s Chinese website, to attract the growing population of Hispanics within the metroplex. According to Geoscape's American Marketscape DataStream, 2005 Series, "Nearly 92 percent of Hispanics speak at least some Spanish and nearly 36 percent prefer or are dependent upon the Spanish language. At least 55 percent speak Spanish very well and about 87 percent are bilingual." Before preparing messages for the Hispanic prospects, it is important to understand their language preferences and needs, as it will be a predictor not only of whether they will be able to read your message, but also of how they will respond.

• Community service: For a non-profit organization, it is important to be involved in the community it represents. Hence, it has to listen to the community and build new services based on community feedback. A service built on users’ feedback strengthens the relationship between the community and the organization. The DSO should provide more information about community activities in which the orchestra is involved.

• Embrace new technology: Looking forward, many arts organizations feel the potential of mobile marketing via SMS and MMS very promising. Larger organizations are moving into mobile marketing, using SMS subscription for text updates and MMS to send images and information. The National Gallery is already making its art available to mobile picture phone users, who can view the gallery's entire permanent collection by clicking on the “Send to Mobile” link. Images can be forwarded and information downloaded. The London Symphony Orchestra is also moving in this direction. The LSO is exploring the idea of SMS codes for ticket discounts and last-minute tickets. In all, interactive marketing is proving a focal point for the arts, but it depends on the scale of the organization as to what works. Less well-off concerns are staying with sites and email bulletins. SMS can be impractical for organizations that have a small marketing budget. But, for the larger organizations, mobile is the future. When Third Generation (3G) wireless systems become widely available, the evolution of SMS short codes and MMS downloads, as well as downloaded web casts are a definite possibility.

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Newsletter

The DSO should also publish a monthly newsletter for its patrons/donors and other visitors to its website, who opt-in to get such a newsletter. This newsletter can be delivered via e-mail or snail mail, depending on the preference of the receiver. Such a newsletter will not only serve as reminder of the DSO’s existence but will also provide readers with interesting facts about the organization and the music world. Again, as with all other promotional materials, the newsletter should also enhance the DSO’s position as a ‘premier cultural experience worth sharing.” The kinds of things that can be included in the newsletter are:

• An article by the music director

• An article by a musician (probably the featured musician)

• An article by a long term donor/patron or a member of the board; someone who has a passion for the DSO (this will increase their involvement, too)

• Major news about the music/art world

• What different publications have to say about the DSO

• Information about the events scheduled for that month Much if not all of the content of the newsletter could be plagiarized (legally, of course!) from the Playbill program copy. SymphonEmail

The DSO should send video e-mails to those on the SymphonEmail list. If an individual has signed up for the list, then they are interested in the DSO. Perhaps a video e-mail can be sent out at the beginning of each campaign, subscription series, or concerts that are not selling as fast as they would like. Capture the information of those that purchase on-line and send specific video- mails with an interested audience. Don’t send one touting the Mozart festival to an individual who has only purchased items in the special events, or pops series. And don’t send one talking about a Marvin Hamlisch pops concert to an individual who has never purchased any tickets outside the Classics Series.

TV and radio publicity

Apart from news releases and the website, the DSO can also develop a relationship with the local public television station (KERA) to promote itself. Just like what San Francisco Orchestra does, the DSO can promote its music and musicians on that channel. It can also promote and publicize its community programs and educational efforts on TV and radio. Also, educational lectures, either by the conductor or one of the musicians, can be broadcasted on public television.

On-hold messages

For people calling the DSO, whether it is the PSC or an individual within a department, there should be on-hold messages while they are waiting to be connected or transferred. If calling the PSC, the script could say the common, “All of our representatives are helping DSO patrons at the moment, your call is important to us. Please wait, we will get to you as fast as we can.” Then while they are holding, music of the DSO can be played- music from upcoming concerts- and talk about upcoming concerts- “In the month of October we have several concerts scheduled. They include . . . . if you are interested please ask the representative for more details”. Or the message could be, “For your listening pleasure here is the DSO playing Beethoven’s 5th from a recent concert.”

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While an individual is on hold waiting to speak with an individual associated with the DSO, play the same messages but disregard the reference about ask the representative for more information. This would cross all sections of the segments available.

Online collaboration

In addition to publicizing its events and in the traditional media, the DSO can take extra efforts to promote itself in the online world. The following are a few suggestions that we have:

• Have a partnership with ORBIT (Orchestra Invitation Tool) or develop an e-mail tool like it for itself. This tool provides a great way for Initiators to invite people and create an event for a group of friends.

• Establish a partnership with the Dallas Convention and Visitors Bureau (http://www.visitdallas.com/visitors/index.php), to be featured prominently on their website. Presently the DSO is not mentioned on that website, except in the section about the Morton H. Meyerson Symphony Center.

• Develop similar relationships with travel websites like expedia.com, Travelocity, etc. We found that the Meyerson Center does show up in expedia.com, but the DSO is not mentioned anywhere.

Educational programs and community involvement

The DSO is already involved in many community and educational programs. We would suggest the DSO continue with these efforts and at the same time, develop new relationships with schools and colleges in the DFW area. This provides the DSO with an opportunity to tap into those organizations and develop strategic relations, in which the musicians go there and play for the students. This would not only expose the students to classical music and develop a new patron base for the DSO; it will also give the DSO good publicity. In addition, the DSO can come up with a small scholarship for an outstanding student in any of the music courses offered by one or more of the surrounding colleges. Colleges like UNT and SMU have renowned music departments. Developing a relationship with them and sponsoring one or more scholarships (as little as $1000 a year) will lead to recognition among the college students and will boost DSO’s involvement in educational programs. Similar programs can be developed for the Dallas Independent School District’s Arts Magnet School, Booker T. Washington School for Performing and Visual Arts. This school is ranked nationally in the musical arts. The DSO can develop an educational program to help develop local talent. The DSO can also promote the symphonic talent of local programs. Perhaps have a high school band or orchestra as the “opening” act for the DSO; this would increase the exposure of the DSO to individuals who may not attend. Families and friends of the high school orchestra would attend, and exposure would be widened. UNT has a nationally ranked music program; perhaps doing some specific marketing to these individuals would be beneficial.

We also suggest that the DSO publicize events like “Lynn Harrell Concerto Competition,” which it conducts annually. Shannon Lee, a child prodigy, who won their competition in 2004, would have become a household name, if they had given the competition more publicity. This could have been done in a manner similar to what the Minnesota Orchestra is

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doing for its “Minnesota Idol” competition. Following two rounds of auditions, six students will ultimately perform with the Minnesota Orchestra at its popular Sommerfest concert, as part of the Orchestra’s debut “Minnesota Idol” concert on Sunday, July 31. As this is a statewide competition, it will bring in people from all over the state. More details about it are attached in the appendix. Personal Selling

The DSO’s Patron Service Center (PSC) addresses the personal selling aspect of promotion. Employees of the PSC call current patrons and donors of the DSO and encourage them to buy tickets and also donate money to the DSO. This is one of the strengths of the DSO and it should continue with its efforts. Direct mail, another form of personal selling, is also used by the DSO. Mailings are sent out to present and past patrons in order to inform them of the upcoming events and give them a chance to purchase their tickets by phone, by mail or through the website. The only drawback that we found in this effort is a lack of a systematic approach. A person we talked to told us that she goes to the DSO four to five times every year but still does not receive any mailings from them. On the other hand, she has been to the FWSO only a couple of times and yet she receives mailings from them on a regular basis. Based on this finding, we suggest that the DSO should look into its direct mailing system and figure out whom it is targeting and why. Is it sending these mailings only to subscribers, or does it send them to all patrons? If mailings are sent out to everyone, why do some people get left out? In order to attract the Initiators, the DSO needs to keep them apprised of all the upcoming events so that they can come and bring their friends. Currently, the PSC is following up on an email that was sent out to an email list of 37,000 patrons, which described the new “Choose Your Own” package. Promotion Packages and Partnerships

An exciting opportunity exists for the DSO to develop different promotional packages by itself or in conjunction with other organizations. All these activities need not be running at the same time and on a continuous basis, but can become a part of the DSO’s offerings, which can be implemented in a systematic manner. Some of these activities are successfully implemented by other orchestras around the country. Getting in partnership with other art organizations will also strengthen its position as a cultural organization in the Dallas area. The promotional packages to be offered are:

• A partnership program with other arts organization: Partnering with other arts organization like the DMA and Nasher Sculpture Center, in the form of a package deal, can be very helpful for all of the organizations involved. A package like ‘a day dedicated to art/culture’ which has a day pass for the DMA or Nasher and an evening concert ticket for the DSO can be very rewarding. As several studies have shown, patrons who are interested in symphony music are also interested in other art forms.

• Partnership with Starbucks: With Starbucks as a sponsor of its casual series, the DSO has an opportunity to be featured in Starbucks Music. This will provide access to all types of customers who might not have a natural inclination towards classical music. Exposure to that music in their favorite environment might attract people to the symphony music and possibly to the live symphony orchestra concert. It is an inexpensive way to get national

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exposure and leverage the brand equity given the extensive customer base of the Starbucks.

• Partnership with local restaurants: At present, there is nothing to do at night after the concerts. A relationship with nearby restaurants, perhaps along McKinney Avenue, could be developed in which the DSO patrons can show their ticket stub and get discounts on their food the night of the concert. This relationship will help create a total experience for the patrons and is beneficial for both the DSO as well as the participating restaurants.

• Co-op ads with local restaurant partners: The DSO can also consider advertising on the menus or table-top ads at downtown or nearby restaurants in exchange for restaurant advertising in the DSO program. Restaurants don't have a lot of money to spend on advertising, so partnerships would be great for them. The DSO should emphasize partnerships with slightly upscale and trendy restaurants.

• Partnerships with established hotel chains: The DSO can establish a promotional package with the local established chains such as Hilton, Radisson etc., which have large network bases of wealthy and upscale clients. This package ‘A classical evening with the DSO’/ ‘An evening to remember’/ ‘A premier experience’ will have two tickets to the concert, a one night stay in the hotel and a limousine service, all bundled in one package. This package will help the DSO broaden its patron base nationally and it can leverage the brand equity of the hotel chains as well.

• Lunch with musicians: The Meyerson Center is located in downtown Dallas, which is in near proximity to many Fortune 500 company offices. An open offer to the public to come and listen to the musicians’ rehearsal during lunch time is an initiative to build stronger customer relationships. It’s likely that more and more of these people would be likely to attend future concerts because of the established emotional relationship with the musicians.

• A small ensemble before the concert: For regular patrons, active Initiators, and as an incentive to the most supportive patrons/donors, a small pre-concert ensemble with some musicians will help build an emotional relationship with the DSO and will act as a valuable reward to these patrons. These activities will also give patrons a chance to be in close, more personal, contact with the musicians and will help them better understand and strengthen their ties with the orchestra. Some similar programs, designed to strengthen the emotional tie between the public and the musicians, are Backstage pass, a day in the DSO etc. These programs can be used to motivate the current and potential patrons as an incentive for their continued support.

• Musicians and conductor communicating with the patrons: A very successful experimental feature, being practiced by various national orchestras, is to have the musicians and conductor talk about the piece they are playing, its specialty, and the instruments being used. This not only gives knowledge to the less-educated music lover but also helps keep things interesting and real. This particular feature will be very successful in the non-traditional programming and will help keep the environment less formal.

• More informative packaging: Although the package names come under product packaging, it should be clear in all promotional messages as to what the concert is all about and what it offers to the patrons.

• Downloadable MP3s: Have an option on the new DSO website to download the recordings and concerts performed by the DSO. It will not only help the DSO to be

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technologically compatible with the younger demographics but will also give a new medium of revenue and geographically broader exposure.

• Upgrade the ticket: Although not an advertised promotional deal, if seats are available, upgrade preferred patrons’ seats as a token of appreciation. This appreciation will reward the DSO in the form of more visits and very valuable word-of-mouth publicity.

• Email/evite about new programs: Another method to remind the patrons about the upcoming concert is a personalized email reminder to them. Or send out video e-mails announcing the upcoming programs, announcing the new season, or a specific event.

• Singles Evening Out: A nice way for singles to get to know other singles with the same interests. For singles this could be an attractive alternative to going to a bar. If an individual buys just one ticket, he or she can be seated next to another individual who also purchased a single ticket. Also, this may keep couples that have found a significant other coming back to the symphony because there is a stronger emotional attachment since it is where they met.

• Airport advertising: Posters and banners could be placed in the DFW airport, and Love Field airport, especially in the American Airlines terminals. This would accomplish two things: 1) Promotion of the DSO's new in-flight entertainment option on American flights and 2) It would inform tourists of the DSO. Selling CDs in the bookstores could be an additional revenue source.

• More creative partnerships: There are many potential creative partnership ideas to target Initiators, for example, spas. People who come to spas usually have money to spend. They are mostly women, who could listen to DSO's classical music while getting a spa treatment, all the while reading a brochure about a romantic night out at the DSO. Other ideas could include partnerships with high-end car dealerships (Lexus, BMW), These dealerships can give out tickets for an upcoming event at the DSO or maybe give a gift certificate, when someone test drives a car.

Additional Promotional Activities

Subscriptions What has been discussed until now focuses more on single ticket sales. As subscriptions bring in more certainty about the revenue stream, orchestras normally focus more on them. Because of all the sales promotion and promotional packages (e.g. Impromptu and Create Your Own package), there exists a chance for the DSO to cannibalize its subscription packages. Hence while promoting subscription packages, two things need to be taken care of. First, the promotion should emphasize the surety of getting the best seats at the best possible price. It should also highlight the additional incentives to be received by subscribers only, e.g. backstage pass, small ensemble before the concerts etc. Secondly, the promotion should target lapsed subscribers as well as older, wealthy people who purchase single-concert tickets frequently. These steps will ensure that we do not confuse the patrons by promoting too many packages to them. Ultimately all packages provide same level of revenue to the DSO but they attract different segments of the target market. Therefore, segregating those segments and exposing them to suitable packaging would be the key to a happy patron base and healthier revenue stream. Here are few ways in which subscriptions can be promoted:

• Patron Service Center is the strongest medium to promote the subscription package. Personally selling the subscription to the original symphony patron base and focusing more on their needs will help increase the subscriptions.

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• Personalized emails to the targeted segment (past subscribers and patrons who are frequent purchasers).

• Use Tessitura to store all the information about each transaction. Based on that information, customized subscription packages can be offered to patrons through email, PSC, and direct mail.

• Collect click-thru information on the subscription page and follow up with the patrons, using the above-mentioned methods, trying to promote personalized packages. If for any reason the patrons are not interested in a subscription package, ask them why and then offer a suitable package (Impromptu, Create Your Own package, vouchers etc.)

• Continue activities like Vivaldi Patron Circle etc. Impromptu Impromptu is a new service intended to provide flexibility to patrons by offering them a chance to attend an unlimited number of concerts in a month, for a monthly fee. Based on the nature of this program, initially it should be promoted only to that segment of the patron base which is very connected to symphony music and frequently attends DSO concerts without long term planning. The first step is to identify that segment through an efficient information tracking system like Tessitura. After identifying that group of people, the methods which can be used to promote the Impromptu package are:

• Patron Service Center (using both inbound and outbound calling) can be used to sell the program. This should be done by an intelligent use of collected information.

• Personalized emails from Fred Bronstein, talking about the package in a persuasive manner.

• Public relation activities, like press releases, and activities on Arts Journal blogs, should be initiated to get more publicity and attention towards this program.

Conductor The musical director is also a product of the DSO. The departure of Andrew Litton at the end of the 05-06 season gives the DSO a two-fold promotional opportunity. The first opportunity is promoting this season as his last season with the DSO and capitalizing on the relationships he has developed within the Dallas community. The season can be promoted as a chance for these individuals to see Andrew Litton for one of his last times conducting the DSO. As he has been here for 12 years, Andrew must have touched the local community with some of the educational or outreach programs. The DSO could send a mailing to anyone who lives in Dallas and has attended any seminar or workshop he has given, inviting the individual to one of Andrew’s last concerts. This would allow the re-establishing a relationship that may have lapsed over the years. The other opportunity is when the new music director is announced, to promote this new addition. If they hire someone who is innovative with his musical programming, they can promote the DSO as a new and improved organization. They can also build up the anticipation of the new musical director. The Boston Symphony Orchestra did a wonderful job of this with the introduction of James Levine. This is a model that is being touted as one to follow to develop symphonies across the country. We also suggest purchasing some outdoor advertising along I-35, 75 or I-45 announcing the new conductor. Build the anticipation of this new musical director, publicizing his/her debut as the “a premier cultural event worth sharing.”

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With all of the strategies suggested, there is a need for a plan that can be followed to implement these suggestions systematically. An implementation plan and metrics for the DSO is attached in Appendix A1 and A2. The restructuring of an organization's strategies, in most cases, calls for some changes within the organization. This is why the commitment and motivation of an organization's employees play a vital role in the successful implementation of an external marketing strategy. An internal marketing plan that focuses on dealing with resistance to change, improving internal communication and ways to motivate, train and help DSO's employees during transition is as attached in Appendix A3.

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Sources

• Dallas Symphony Orchestra staff

• Classical Music Consumer Segmentation Study How Americans Relate to Classical Music and Their Local Orchestras; Commissioned by 15 American Orchestras and the John S. and James L. Knight Foundation; October 2002

• Bridging the Gap: Orchestras and Classical Music Listeners; Commissioned by 15 American Orchestras and the John S. and James L. Knight Foundation; June 2003

• Initiators & Responders: A New Way to View Orchestra Audiences; Commissioned by 15 American Orchestras and the John S. and James L. Knight Foundation; July 2004

• Classical Music Consumer Segmentation Study How Americans Relate to Classical Music and Their Local Orchestras; Commissioned by 15 American Orchestras and the John S. and James L. Knight Foundation; October 2002

• Comments from DSO Patron Survey – April 2003

• DSO Musician Survey Results – January 2004

• Smart Concerts: Orchestras in the Age of Edutainment; Commissioned by 15 American Orchestras and the John S. and James L. Knight Foundation; January 2005

• “Leadership and Co-operation in Orchestras,” Boerner, Sabine; Krause, Diana; Gebert, Diether. Human Resource Development International; Dec. 2004, Vol. 7 Issue 4, p465, 15p

• East Valley Tribune, May 18, 2004

• Setting Goals and Targeting Constituents, Heidi Kelley & Tara Mahady, Campagne Associates, March 31, 2003

• Durham Arts Council Audience Development Initiative, Louise Stevens, 2003

• BSO inc., Chicago Tribune, May 25, 2005, John von Rhein

• An American Orchestra by Dr. Fred Bronstein

• DSO Benchmarking study by M/A/R/C

• Richards Group Report on the DSO Customer Gallop National Poll for Symphony Audiences Targetbase study on the DSO Marketing Strategy by Ferrell, O.C, Hartline, M.D.

• ORCHESTRA OPERATIONS: PRODUCING A CONCERT IN YOUR HOME HALL by Sarah Marley

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