Anne Sears, director of external affairs at Westminster Choir College of Rider University, tells Chorus America's president & CEO Ann Meier Baker about a special audience participation project during this year’s choir tour.
Chorus America/ASCAP Award winners describe their commitment to new music and share strategies for building programs, cultivating audiences, collaborating with composers, and bringing new music to life.
How can choruses stay competitive in the quest for audience in a fast-changing world of busy lifestyles, cultural glut, home theaters, and web-based entertainment options? And how do we make the face of our audience younger and more colorful? Here are six strategies gleaned from recent research in arts marketing.
A strong brand is no longer just "nice-to-have" for cultural organizations—it's a necessity. It can engender loyalty, create advocates and ambassadors, and, when needed, provide a margin for forgiveness. Here's how to build your master brand.
Composer Gabriela Lena Frank explores the evolving relationship with her audience, beginning with her doting parents.
Chorus America illustrates how the National Endowment for the Arts' release of a research memo to the 2008 Survey of Public Participation in the Arts relates to the 2009 Chorus Impact Study.
Getting the word out to your local media is one of the best ways to ensure that arts patrons and the public know about the good work your chorus is doing. Here are tips for getting your chorus activities and performances noticed.
Singing is an anywhere, anytime activity in many parts of the world. There, it's not something you go to—it's something you are. What if we took music out into the world rather than always asking people to come to it? One ensemble endeavors to do just that by taking choral music to the most unlikely places.
On the internet all choruses are equal: Even the smallest ensemble with limited resources can now establish a global presence using digital technology to spread its sound. Here we offer some advice on how to decide which sound format is best for your chorus.
What is our responsibility as singers and as choruses when historic choral works are offensive, even hostile, to a whole group of people? Tom Hall, music director of the Baltimore Choral Arts Society, discusses Bach's St. Matthew Passion and St. John Passion.