Transcript San-Francisco-Girls-Chorus-Qualitative-Research-Focus

San Francisco Girls Chorus
Qualitative Research
Presentation / Report
21 April 2008
Research Background
 With a grant from the Wallace Foundation, San Francisco
Girls Chorus (SFGC) has initiated a process focused on
building new audiences and increasing participation.
 One important aspect of this program involves increasing
attendance of SFGC by classical music patrons.
 To better inform its planning efforts in this regard, SFGC wished to
undertake qualitative research to gain insights into perceptions of SFGC
by classical music patrons and to explore means to cultivate this
potential audience.
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Research Objectives
 Specific objectives of the research were to explore and
understand:
 Depth of awareness of SFGC and what image and perceptions -rational and emotional -- exist based on actual knowledge of the
organization and/or associations with its name and genre.
 Barriers to attendance of choral events in general and SFGC in
particular.
 How SFGC fits within the broader cultural landscape of San Francisco
Bay Area classical music and performing arts organizations.
 What kinds of programming or messaging would ameliorate barriers and
attract classical music audiences to SFGC.
 Reaction to current marketing materials for SFGC to understand their
ability to engage and compel the classical music attendee.
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Research Method
 Three focus groups were conducted at Fleishman Field Research in
downtown San Francisco on 11 March 2008.
 Respondents were recruited from lists provided by the San
Francisco Opera, San Francisco Performances, San Francisco
Symphony and Philharmonia Baroque Orchestra.
 Respondents were screened to meet the following specifications:
 Current music patrons who have attended at least two classical music
performances in the past year at venues in the San Francisco Bay Area.
 The decision maker with regard to attendance at these classical music events.
 None had attended a San Francisco Girls Chorus event unless it was in
conjunction with a sponsoring organization (e.g. SF Symphony, SF Opera).
 All had to express an openness to attending choral music (non-rejecters).
 All had to have incomes of $50,000 plus (singles) or household income of
$100,000 plus (married or living with partner), with a range of incomes
represented.
 A mix of genders (skewing female), ages 25–64, education (college grad or
better), ethnicity and household types were represented in each group.
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Discussion Flow
Discussion in the groups covered the following:
 Introductions by respondents (who they are, what they do, type of
performing arts events they attend).
 Sources of information respondents use to stay current with the arts
and to aid in their decision-making on events to attend.
 Respondents’ perceptions of choral music and choral groups in
general and experience with particular organizations.
 Level of awareness of the San Francisco Girls Chorus and image
and perceptions based on actual knowledge of the organization
and/or associations with its name and genre.
 A guided visualization exercise was used to allow each respondent the
opportunity to explore his or her own perceptions – rational and emotional – of
what a SFGC concert might be like and their feelings about attending.
 This exercise served as a springboard to a discussion of the appeal of and
barriers to attending as well as of specific expectations around the performance,
repertoire, audience, venue, etc. of the San Francisco Girls Chorus.
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Discussion Flow (continued)
 Reaction to potential positioning statements or ideas.
 Respondents were each give a sheet with 10 different positioning
statements for SFGC. Respondents were asked to think of these as
messages or different ways that SFGC might talk about itself.
 After recording their individual reactions to each statement (in terms of
how each left them feeling about SFGC), respondents then shared their
reactions with the group.
 Reaction to the SFGC Home page.
 Respondents were given color copies of the Home page to view, and it
was also shown on a monitor.
 After recording their individual reactions to the Home page, respondents
then discussed these reactions and the Home page with the group.
 Reaction to the SFGC Brochure.
 Respondents were each given a copy of the 2007-2008 SFGC Brochure
to review.
 After recording their individual reactions to the piece, respondents then
discussed their reactions and the brochure with the group.
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Detailed Findings
Choruses and Choral Music
In General
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Choruses / choral music
When asked about choruses and choral music, many
respondents expressed enjoying them.
 Most had attended choral music at other organizations – PBO,
SF Symphony, SF Performances and as part of works at SF
Opera.
 Some had sung in choruses in their youth.
 For virtually all, choral music brought to mind a range of feelings
and emotions: seasonal joy, contemplation, feelings of being
moved or inspired, nostalgia, fun, boredom, restlessness, etc.
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Choruses / choral music
When asked about choruses and choral music a frequent
question to emerge quickly was, “What type of choral
music?”
 Respondents quickly drew a distinction between a cappella or
accompanied choruses and choral performances which were
part of a larger orchestral or operatic work.
 In their minds, these were two distinctive genres, each with their own set of
associations and feelings.
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Choruses / choral music
As part of a larger work, choruses were considered as:
 Functioning like another instrument
 Contributing to an even richer, fuller
sound
 Visually interesting – orchestra or opera
+ chorus
 A lively, engaging experience
 Potentially very moving and/or
inspirational
 Something sought out as an experience
 Some had made a point to attend
PBO, SF Symphony when the
chorus is performing.
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Choruses / choral music
On their own, a cappella choruses were considered as
potentially interesting but more likely:
 Structured and boring
 Lacking in energy, intensity and variation
 Not visually engaging
 Potential amateurish
 Seasonal concerts and sing-a-longs at
performing arts and church venues
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Choruses / Choral music
While the idea of choral music did not excite – or was a turn
off – reaction was quite different when respondents spoke
in specifics of choruses or choral music they had enjoyed.
 They did get excited about:
 Hearing music they enjoy, such as:
• Seasonal works (e.g. Messiah, Christmas concerts, sing-a-longs)
• Classical/religious works (e.g. an oratorio, requiem, magnificat)
• Gospel music
 A chorus with a strong identity or reputation
 A seasonal event at a venue they enjoy
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Choruses / choral music
Choruses and choral groups mentioned most often during
the research included the following (in alphabetic order):
 American Bach Soloists – baroque music
 Chanticleer – strong, even international reputation, choreographed
movements, candlelight processions, “put on a show”, seasonal concerts at
Grace Cathedral, Mission Delores, First Congregational Church
 Gay Men’s Chorus – very talented, lively, fun
 Philharmonia Baroque Chorus – highly regarded, period music, oratorios
 SF Boys Chorus – been around a long time, well thought of, St. Ignatius
Church performances
 SF Opera Chorus – adds to the richness of the performance, draws from other
organizations like the SF Boys Chorus
 SF Symphony Chorus – phenomenal chorus, sings as one voice, adds
dimension to a performance
 Vienna Boys Choir – strong reputation, uplifting, energetic, fun
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Choruses / choral music
 Other choral organizations mentioned
included (in alphabetic order):
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Berkeley Community Chorus
Berkeley Men’s Choir
Edwin Hawkins Singers
Glide Memorial Choir
Golden Gate Boys Choir
Harlem Boys Choir
Jubilee Singers – at Davies
Mormon Tabernacle Choir
SF Bach Choir
SF Girls Chorus
Sweet Honey in the Rock
The Nylons
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Choruses / choral music
Interestingly, the choruses that came up most often
seemed to fall into these categories:
Men’s
Choruses
Gospel Choirs
Chorus as a part of
larger work
Glide, Sweet Honey in
the Rock, Jubilee
SF Symphony
Energetic, moving,
lively, gospel, jazz,
blues
Another “instrument” in the
piece, adding richness to the
overall work.
SF Opera
Period
Ensemble
Choruses
PBO, American Bach
Soloists
Period music – baroque,
early music, oratorios
*Based on the organizations mentioned, not
actual respondent groupings
Chanticleer, Gay Men’s
Chorus
Strong reputations
Moving or fun
Boys’ Choruses
SF Boys Chorus, Vienna
Boys Choir, Harlem Boys
Chorus
Long tradition of boys’
choirs, special-ness of prepubescent voices, strong
reputation, esp. VBC
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Choruses / choral music
Girls choruses, and the SFGC in particular, were not top
of mind.
 Few seemed aware of girls choruses or SFGC.
 Among those who were aware of SFGC, the depth of
awareness was low.
 Respondents knew little about the SF Girls Chorus, other than its name.
 Some mentioned that they had – or at least thought they might have –
seen the Girls Chorus perform with SF Opera or SF Symphony.
 This discussion often prompted a transition to boys’ choruses
and, in particular, SF Boys Chorus.
 Respondents volunteered that SFBC had been around longer than the
SFGC and seemed more established.
 Performances at the Opera and Symphony, as well as at St. Ignatius
Church, were mentioned
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Choruses / choral music
Boys’ choruses seemed more prominent in respondents’
minds.
 The following were mentioned by some:
 The long tradition of boys’ choruses
 The transitory quality of the prepubescent male voice, which made it
interesting and special
 Well known boys’ choral groups (e.g.
Vienna Boys Choir, Harlem Boys Choir)
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Detailed Findings
Images & Perceptions
of the
San Francisco Girls Chorus
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San Francisco Girls Chorus
A “guided visualization” exercise allowed each respondent
to imagine for themselves what the experience of being
invited to and attending a SFGC concert would be like.
 As they imagined this, they were asked to note:
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Who invited them
Their reaction to the invitation
The performance venue
What they noticed on arrival
The program
What they saw on stage
The performance
Feelings after the event
Desire or not to attend again
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San Francisco Girls Chorus
When asked to imagine that they were invited to attend a
SFGC concert, some looked forward to it, but most did not.
 Some were curious to discover what this group was about and
what it might have to offer them.
 Depending on what was being performed and the assumed quality of
the group, they could imagine a potentially enjoyable experience.
 Some, however, dreaded the event.
 If possible, their choice would be to reject the invitation. They couldn’t
envision that there would be anything engaging or entertaining for them.
 Overall, most just anticipated it would be a boring, if
endurable, event.
 Not really knowing anything about the SFGC or what to expect, they
found it hard to imagine anything compelling about it.
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San Francisco Girls Chorus
Many imagined that they had been invited to the event by
the parent of a SFGC chorister.
 In fact, those who had attended choral events in the past had
often been invited by friends who sang in a chorus themselves
or by parents of children who sang in a chorus.
 The audience was imagined to be filled with family and friends.
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San Francisco Girls Chorus
Lacking familiarity, respondents were unclear what to
expect in terms of the quality of the chorus.
 Was this just an “after-school” activity or something more
accomplished?
 Did this chorus have different levels, like some choruses do,
and what would be the quality of the level(s) performing?
 Was the chorus comprised of a range of ages or just younger
girls? (Most seemed to imagine a range of ages 8-18)
Without really knowing, there was an assumption that the
Chorus was more of a youthful training ground -- more “amateur”
than “professional”.
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San Francisco Girls Chorus
These respondents mostly imagined a rather static and
bland event.
 The visual image was of a symmetrical block of girls, standing
and singing as one.
 The image lacked energy.
 Few imagined the girls showing any expression.
 No one imagined the girls moving about the stage or venue.
 Musically, the performance was one without dramatic contrast.
 Most imagined the girls singing as “one voice”, a harmonic blending.
 Few imagined a solo performance or any sort of dramatic intensity in the
performance.
 They imagined little or no accompaniment.
It was hard for respondents to imagine that there would be
anything to really engage their ears or eyes
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San Francisco Girls Chorus
Most imagined the program as a series of short pieces or
songs drawn from various genres.
 The expectation was of a program inclusive of a wide variety
of music allowing the chorus to demonstrate their ability to
sing across genres.
 A concern was that the group might not be able to do longer,
more challenging classical pieces.
Respondents imagined what some described as “typical choral
fare,” but wished for something that would be more engaging.
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San Francisco Girls Chorus
The SFGC concert was imagined as a matinee event in a
smaller and less professional venue.
 Not knowing the age of the girls or the professionalism of the group,
the expectation was of a matinee (or weeknight event).
 It was hard for respondents to imagine the concert being enough of an “event” for
a serious concert going crowd.
 Most often, respondents envisioned the performance taking place in a
church or a school auditorium. These felt “realistic” in terms of being:
 The kind of venues that a group such as the Chorus might be able to affordably
rent (or which might be made available to them free of charge)
 Of a size that they might be able to fill in terms of the audience.
 Intimate enough to allow them to be heard.
 These school or church venues reflected the perception of this being
an “amateurish” group.
 And, they were not perceived as comfortable or desirable environments in which to
attend a concert.
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San Francisco Girls Chorus
The wish of many respondents was for an intimate venue,
but one that was more professional.
 Often mentioned, in this regard, were venues such as Herbst
Theater and the SF Conservatory of Music.
 These were felt to cast the expectation of a higher caliber group.
 Also mentioned were certain church venues, namely First
Congregational Church in Berkeley, Grace Cathedral and St.
Ignatius Church.
 It was very clear that not all church venues are perceived equally, and
that some are more appealing for various reasons.
• First Congregational was known as a established arts venue and, in
that regard, carried a perception of “high quality”.
• Grace Cathedral and St. Ignatius were regarded as special and
beautiful venues and were often associated with holiday concerts.
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San Francisco Girls Chorus
Different venues communicated different messages:
 Less credible / more
amateurish / less challenging
repertoire
 School Auditoriums
 Unknown or smaller churches
 Churches not familiar as
performing arts venues
 More credible / professional /
more challenging repertoire
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Herbst Theater
SF Conservatory of Music
Legion of Honor
Yerba Buena Center
Grace Cathedral, St. Ignatius Church
First Congregational Church, Berkeley
Orpheum Theater
Yoshi’s
Respondents thought SFGC concerts would gain credibility by being
offered at performing arts venues like Herbst and SF Conservatory as
well as larger church venues (e.g. Grace Cathedral) or “established”
performing arts church venues (First Congregational).
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San Francisco Girls Chorus
As they imagined the concert, few respondents thought
they would feel compelled to attend again.
 While some imagined the SFGC concert as a pleasant enough
experience, it would not compete for their cultural time.
 Additionally, some noted the expectation that these types of
concerts were all “more or less the same” – so there would be
no need or compelling reason to return.
Respondents needed to know that there would be something truly
different to engage them the next time.
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San Francisco Girls Chorus
What respondents wanted to know to be really interested
in the Chorus was:
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Does it offer a high quality musical experience?
What would be performed?
Would it be visually and musically engaging?
What is compelling or unique about girls’ voices?
Where does it perform?
As they got hints about some of these things – through the materials
and stimuli shown – interest increased.
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Detailed Findings
Positioning Statements
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Positioning Statements
A number of rough positioning ideas or statements were
shared with respondents.
 These were used as “stimuli” for respondents to react to and
to provoke further discussion about SFGC.
 Respondents noted their individual reaction to statements
before discussing these reactions in the group.
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Positioning Statements – Most resonating (in blue)
The San Francisco Girls Chorus . .
. . . delivers to music lovers a rich exploration of the choral repertoire from classically based
choral works to folk songs to contemporary fare.
. . . is an innovator in the creation and performance of new music to showcase the young female
voice.
. . . delights music lovers with fresh interpretation of musical masterworks.
. . . performs with accomplished guest artists to deliver rich and satisfying performances that
feature solo and choral voices.
. . . is the San Francisco Bay Area’s premier young female choral ensemble.
. . . provides classical music lovers with a deep and rich exploration of the classical vocal
repertoire.
. . . is recognized for its musical excellence though its national and international tours, its
participation in world-class competitions and its expanding discography.
. . . excites music lovers with its spirited performances of choral music and professionally
choreographed movements.
. . . engages its audiences with the rare combination of youthful voices performing at a near
professional level.
. . . inspires audiences with its uplifting performances.
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Positioning Statements
 The statements (or parts thereof) that resonated most were those
that began to chip away at the stereotypical notion of what a
“chorus”, and particularly a “girls chorus,” is:
 That notion being a large group of singers planted immobile on a stage, singing
with one voice in harmony, offering little auditory or visual engagement.
 These statements held out the promise of -- or at least began to hint
at -- something more active, engaging, varied and entertaining.
Phrases and ideas in these statements that resonated most were:
 “Spirited performances” and “Engages its audiences” made the performances
sound more lively.
 “Innovator in the creation and performance…” made the chorus sound more
interesting and accomplished.
 “…to showcase the young female voice” sounded more intimate, implied solos
and conveyed something special about the young female voice.
 “Performs with accomplished guest artists to deliver rich and satisfying
performances that feature solo and choral voices” (discussed next page)
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Positioning Statements
 The most appealing statement, “…performs with
accomplished guest artists to deliver rich and satisfying
performances that feature solo and choral voices,” lead to
some interesting discussion.
 Respondents thought use of solo artists from the Chorus itself would
add musical and visual interest.
 The idea of “guest artists” held even greater appeal. Respondents
could imagine:
• Vocal artists from a contrasting musical tradition (e.g. a jazz artist)
• Instrumental artists or ensembles (e.g. percussion, gamelan, etc.)
• Classical vocal artists - “up and comers” or local established artists.
- Some did comment that bringing in too big a name might overshadow
the chorus and detract from its reputation rather than enhance it.
- Some also expressed that a voice that complemented the register of
the girls’ voices rather than duplicated it, might be more interesting.
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Positioning Statements
Some statements were very positive to one group or
another, depending on their musical tastes.
 Those more into classical music or serious about choral music loved
the idea of “a deep and rich exploration of the classical vocal
repertoire”.
 But, even some of these found “classical musical repertoire” vague and hoped
that it would be something too mainstream or “KCFC”.
 Others seemed to prefer “a rich exploration of the choral repertoire
from classically based choral works to folk songs to contemporary
fare”.
 Still, the fear of many was that this might be a “sample pack” or “a lot of shorter
works” that would leave them feeling unsatisfied.
 Some liked the idea of this statement simply because it seemed to offer a way to
liven up what they perceived as an otherwise dull event.
 Some found “new music” compelling, but most did not.
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Positioning Statements
Finally, there were some statements (or parts thereof) that
received a more mixed response.
 “Professionally choreographed movements”
 Appealed to some as enlivening and engaging but others were leery, and thought
these might be corny or silly – a lot depended on the specifics.
 “Inspires audiences with its uplifting performances”
 While many respondents liked the idea of being inspired by a performance, they felt
that whether they were inspired or not was highly dependent on what was being
performed (and if it was the kind of music they enjoyed) and the quality of the
performance.
 “Recognized for its musical excellence though…international
tours…world-class competitions…expanding discography”
 Some found this impressive – it helped to establish the credentials of the group for
them – but it still left them with doubts, not knowing what the chorus performs.
 Other expressed that any group can tour or record and the kinds of choral events
they compete in wouldn’t necessarily make them a group this audience would want
to hear.
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Positioning Statements
Finally, there were some statements (or parts thereof) that
were not well received.
 “Fresh interpretations of choral masterworks”
 This didn’t sound credible or desirable.
 Amateurs shouldn’t “interpret” until they’ve mastered.
 Some didn’t want masterworks interpreted.
 “Premier young female choral ensemble”
 Was perceived as having too many qualifiers to be meaningful – who
else is out there?
 “Youthful voices performing at a near professional level”
 While respondents liked the idea that the chorus would perform at a
very high level, the modifier “near” was a turnoff.
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Detailed Findings
SFGC Homepage
SFGC Brochure
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SFGC Home Page
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SFGC Home Page
The Home page reinforced stereotypes of a “Girls Chorus”.
 The photograph of the girls, communicated a pleasant
and happy group, but not an accomplished chorus.
 With the girls in their uniforms and the Golden Gate
Bridge and San Francisco in the background, it appeared
as more like a “field trip” or “Girl Scout outing”.
 The SFGC logo was also noted as being similar to the
Girls Scout logo (pictured left).
 The photograph reinforced the expectation
respondents had of a static group singing with one
voice – not a group capable of a more vocally
interesting and visually engaging performance.
 While some liked the red coloration of the uniforms
and page, others found it overwhelming.
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SFGC Home Page
Respondents did like seeing the left side navigational
links and the logos of the sponsoring organizations.
 These helped to establish credibility for the SFGC.
 The links conveyed this as a organization with some depth.
 Approaching the site as a “potential audience” member, rather
than as a parent, respondents wished that “Featured events”
were more prominent on the page – at the top, rather than the
bottom.
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SFGC 2007-2008 Brochure
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SFGC 2007-2008 Brochure
Reaction to the brochure was much more positive.
 It conveyed a lot of information about the Chorus, some
surprising to respondents:
 The girls were older than some had expected – and just older girls (no
younger ones).
 They did appear as more professional than amateur.
 Some of the concerts and guest artists sounded interesting.
 The quotes in the piece, when noticed, were very powerful in
establishing the high caliber of the group.
 Most powerful were the quotes from Michael Tilson Thomas, Kent
Nagano and SF Magazine.
 Frederica von Stade was a well-regarded source, but her quote didn’t
establish the credentials of the group.
 Some wished for a little description and history of the Chorus
to further establish its credentials.
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SFGC 2007-2008 Brochure
Some of the concerts showed a potential
to engage this audience.
Respondents liked seeing the girls in
smaller groups and less “in formation”.
The quotes were very powerful.
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SFGC 2007-2008 Brochure
Some of the programs were appealing to respondents.
 “Music Fit for a Queen” intrigued many with its title, visual
and description.
 The “Silver Bells” Christmas concert held appeal as a
holiday event.
 “Premiers With Brazilian Jazz Artist Luciana Souza” struck
many as a highly appealing use of a guest artist.
 “With ODC/Dance at YBC” intrigued a number of
respondents.
 “Enchanted April” and “Dance On, My Heart” drew little
interest – titles and visuals did not engage most
respondents and were a turn-off to many.
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SFGC 2001-2002 Brochure
Hear for yourself
A New Standard for Girls’ Voices
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SFGC 2000-2001 Brochure
This piece, shown only in the last group, received a very
positive reaction.
 It communicated a very different image of the SF Girls Chorus
– older, mature, sophisticated.
 The inference was that their music-making would be more sophisticated
as well.
 Contributing to these perceptions were:
 The colors used in the brochure
 The black outfits
 Their appearance as a collection of individuals rather than a static block
of girls
 “Sacred Landscapes” struck some respondents in this group
as a potentially interesting concert.
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Detailed Findings
Sources of Information
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Sources of Information
Respondents, across groups, discovered performing arts
opportunities through various and diverse means.
 Newspapers and magazines
 Most noted - The SF Chronicle and its Sunday “Pink Section”
 SF Weekly and The Guardian
 For some, the Sunday NY Times or special fall arts edition.
 Emails seemed very influential
 Emails from performing arts organizations (e.g. SF Opera, ACT) and emails from
other organizations (Goldstar, Flavorpill, Theatre Bay Area)
 Emails called interest to immediately upcoming events and caused people to
consider attending things they may not have known about or considered.
 Some looked forward to their weekly Goldstar or Flavorpill emails to see what was
going on for the current week.
• Flavorpill was noted for its more “off beat” events.
• Discounted tickets (e.g. through Goldstar) encourage more risk taking.
 Plus emails generate WOM – they get passed along!
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Sources of Information
 Postcards
 Like emails, they were persuasive as well, calling attention to an near
term event and grabbing interest.
• But, with less chance of being passed along.
 Websites
 Those of performing arts organizations (e.g. SF Symphony, ACT,
SHN.com) were visited.
 But, also general entertainment or ticketing sites
• SFGate was often mentioned
• Ticketmaster
• But also, MySpace, Tribe, Yelp!
• Radio station websites
 Search
 Mainly used to get to a venue’s site or that of a specific artist or
performer.
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Sources of Information
 Word of mouth
 The recommendations of friends and associates held a great deal of
importance as a way to hear about events and in deciding which events
to attend.
 Banners, posters, marquees on or near arts venues
 These seemed to be noticed quite a lot, successfully calling attention to
events.
 Radio Stations
 Some mentioned KDFC.
 Others mentioned KCSM, KPOO, KUSF, KFOG, KQED.
 Some went the radio station’s websites as well.
 Billboards
 The PBO billboard was mentioned.
 Signage on buses, shelters
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Sources of Information
 Reviews
 Some paid attention to reviews, but most appeared not to.
 Some did note, however, that reviews do call attention to an event, even
if you don’t read them or buy into what they are saying.
 Most preferred to rely on the recommendations of friends or people they
knew with similar tastes/interests.
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Summary & Conclusions
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Summary & Conclusions
 The San Francisco Girls Chorus is not top of mind with
classical music audiences.
 They are either unaware or, if aware, have a low level of awareness.
They “feel” they’ve heard of SFGC or “think” they might have seen it
perform, but are not certain.
 Choral music (both accompanied and a cappella) is not
something these classical music patrons are seeking out.
 They look forward to choral music when it is part of a larger orchestral
work, but think of a cappella as not stimulating or satisfying as a
performance.
 Within this perceptual framework, SFGC faces the additional
hurdle of being perceived as a “girls chorus”, with the
attendant image of an “after-school” group performing song
recitals for parents.
 There is nothing classical music patrons can ascribe to SFGC, based on
the name or its associations, that would compel consideration.
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Summary & Conclusions
 The irony is that many of these classical music patrons do
appear to attend and even enjoy a cappella groups and
concerts.
 While they may not seek out the genre, they have embraced
particular organizations or performances and find them highly
appealing.
 Classical music patrons do get excited about:
 Hearing choral music they know and enjoy
• E.g. Messiah, a requiem, gospel music
 Hearing a chorus with a strong identity or reputation
• E.g. Chanticleer, Gay Men’s Chorus
 Attending a seasonal event at a venue they enjoy
• E.g. SF Boys Chorus at St. Ignatius, Chanticleer at First
Congregational
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Summary & Conclusions
 It is clear that to be considered, a chorus must meet certain
criteria:
 Be professional or of very high quality – not an amateur chorus.
 Offer programming that classical music audiences want to hear –
substantial, interesting and challenging works.
 Offer the hope of something more visually engaging – soloists or guest
artists, staging.
 Offer contrast – dynamic piece, soloist, instrumental or vocal guest
artist.
 Perform at a venue classical audiences enjoy and that enhances the
credibility to the group performing.
 Have a clear and compelling identity that makes the organization stand
out and be noticed.
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Recommendations
Going forward, if SFGC wants to engage the classical
music audience, it will need to:
 Establish this target as a priority for the Chorus.
 The classical music audience’s needs are very different from family and
friends who come to see their girls and be entertained.
 The classical music patron will come only if they feel they will be
entertained.
 Identify for this audience who the SFGC is and what it has to
offer them.
 What makes girls voices’ special and compelling? What repertoire
makes SFGC distinctive and compelling? What type of “experience”
does SFGC offer its audience?
 They will need to receive a bold and clear message about SFGC to
break though preconceived notions.
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Recommendations
If SFGC wants to engage the classical music audience, it
will need to:
 Express its identity consistently across everything it does –
speaking with one voice to deliver a compelling message.
 From its logo to its brochures and website to its uniforms.
 Deliver programs and concerts that this audience will enjoy.
 Music and performances that will engage them.
 Consider some experimentation with tailoring one program
each season to this audience and marketing it through
organizations to whose audiences it might appeal -- a kind of
“test market”.
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Thank you!
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