DSO Marketing Plan v8

Marketing Plan
MARK 5340
Marketing Strategy Class
UT Arlington
Summer 2005
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
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.
Todays 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.
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.
Mission
The Dallas Symphony Orchestras (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 Bronsteins 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
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 communicationson going
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.
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
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
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
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
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 20052006 will be Andrew Littons 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 DSOs 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
DSOs 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 DSOs 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 DSOs market
segments are known (current and past buyers), the upcoming seasons 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 orchestras capabilities and livelihood after
Andrew Littons 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 organizations culture
and high expectations.
Good Labor Relations
The strength of the DSOs 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 organizations
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 customers 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 DSOs workhorse, Classical music concerts. The
DSOs 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 DSOs 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 DSOs 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 DSOs website needs to consistently reflect the DSOs 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 orchestras
patron quota results in conflicting rates, discounts, and messages from the DSO. Each
departments 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
DFWs 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 DFWs 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 DSOs 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: Im
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 DSOs 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 Dallass jobs are located downtown. Forty percent
of downtown employees are college graduates and 16% have postgraduate degrees. Thirtysix 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 groups future interests.
Capitalize on wealthy Collin and Denton county residents
Collin county residents have an average disposable income figure of $82,000. Denton
countys 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 Countys 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 areas 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 ones 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 postconcert 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 offices 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 heres 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 DSOs 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 DSOs 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.
18
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
Very high classical music participation generally
Classical
High consumption levels of all types of live classical product
Consumption
Very high consumption of classical music radio and recordings
Profile
Most knowledgeable about classical music of all segments
Self described critical listeners of classical music
Are all currently attending the DSO (within past year)
Relationship
with Their Local Highest average frequency of attending local orchestra
Very high social context (family and friends) for attending local orchestra
Orchestra
They are active in the decision to attend most have personally purchased
tickets
They live closest to the orchestras venue of any segment
Highest percentage female (58 percent)
Demographics
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
19
Group 2: Low/No Involvement Alumni

Segment 2: Casually Involved Active Audience
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.
Higher than average classical music participation generally
Classical
Consume a variety of live classical product
Consumption
High ownership of recordings but only moderate consumption of new recordings
Profile
They are moderately knowledgeable about classical music and only somewhat
interested in learning more
Are self described casual listeners of classical music
Are all currently attending the DSO (within past year)
Relationship
with Their Local Moderate to high average frequency of attending local orchestra
Very high social context (family and friends) for attending local orchestra
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
50 percent are married or partnered
Demographics
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
degree or post-graduate studies
They are Responders most would be more likely to attend cultural outings if
Consumer
someone else invited them
Behaviors
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Segment 3: Sophisticated Low-Frequency Alumni
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.
High classical music participation generally and high consumption levels of all
Classical
types of live classical product
Consumption
High consumption of classical music radio and recordings
Profile
Highly knowledgeable about classical music and are interested in learning more;
more than one-third consider themselves critical listeners of classical music
Most have social context (family and friends) for attending local orchestra
Relationship
with Their Local 34 percent attended their local orchestra over the past year at an average rate of
1.2 times
Orchestra
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
Highest percentage married or partnered (63 percent); average age 50 years;
Demographics
85 percent white
degree or post-graduate studies highest of any segment
They are frequent attendees of other arts programs (12.4 times in past year)
Consumer
More than half have volunteered for an arts or cultural organization, and 70
Behaviors
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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Segment 4: Interested Single-Ticket Buyers and Ghosts
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.
Low annual frequency of attending any classical music concert two times on
Classical
average
Consumption
Low to moderate social context for attending classical music concerts
Profile
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 selfdefined critical listeners of classical music
Slightly below average social context (family and friends) for attending local
Relationship
with Their Local orchestra
26 percent are currently attending their local orchestra (within past year) at an
Orchestra
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
51 percent married or partnered; average age 46 years
Demographics
14 percent African-American; 13 percent Hispanic ethnicity
degree or post-graduate
Most desire to attend live performing arts events more often
Consumer
79 percent would be much more likely to attend cultural outings if someone else
Behaviors
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 markets 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 DSOs 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 DSOs 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 orchestras
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
25
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 Its 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 DSOs 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 Littons
departure and will need to reassure current and future patrons that the DSO will continue to
be as good as its 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 DSOs 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
Leagues 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.
26
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 arent 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 DSOs current Traditional product
F eatured
Artists
4%
Stars
5%
F amily
3%
Romantic
1%
Community
6%
Classical
50%
Holiday
11%
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Pops
20%
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
DSOs 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-theroad 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
Bravo Package- the Greatest Hits list from
classical music history
Name to Consider
Classics Greatest Hits
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Ovation Package- includes Mozarts best

works along with Tchaikovskys Symphony
No. 5, plus Conductor Andrew Littons
favorite Russian composers
Encore Package- contains both symphonic
compositions and solo performances in a
collection of landmark classical works.
Mozart, Tchaikovsky and More
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
Landmark Classics
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 NonTraditional product strategy is very different from the Traditional Strategy in that the goal is
to attract and retain new, younger, and more diverse audiences.
Dont 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
29
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 DSOs 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 hasnt pleased some of the older and more conservative subscribers, [but]
at the same time, is attracting an audience that either hasnt 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
30
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
symphonys 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 organizations 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 Classicals 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. Mozarts 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. Thenwith an explosion of orchestral colorJohn 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 wasnt 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 DSOs
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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 DSOs 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 Sorcerers 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) Thats $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 doeuvres, 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 Nashers 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 concertgoers, 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 caf.
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 Debussys Printempsabout the surge of energy
in springevokes a Botticelli painting. The Dutilleux work, which is even more ecstatic, is
based on Van Goghs Starry Night. Musorgskys Pictures, a longtime favorite, translates a
whole art exhibit into music. Knussens 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 Mozarts 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 Symphonys 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 Symphonys Front Row
Center series concentrates on how Vienna, Moscow, and Paris have influenced the politics
and culture, which then influenced the composers 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 nations 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 Stravinskys
Firebird Suite and should continue to incorporate such elements in their programs.
Embedded Interpretation
Newer audiences want help becoming better listeners, but arent 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 NonTraditional 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 DSOs 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
DSOs 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 DSOs best
interest. Additionally, price does not seem to be a critical issue for several of our target
segments, based on the Knight Foundations 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
DSOs 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 its 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 DSOs perceived
value through innovative products and services. Group discounts and referral programs help
build the DSOs 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 wont be able to get their moneys 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 DSOs 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). SFSs 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 DSOs 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 DSOs 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 DSOs mission should be pervasive throughout all aspects of its promotional campaign
and should be prominently featured on the organizations website as well. Also, because
community is such a strong focus of the DSOs 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 DSOs 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, its 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 DSOs 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 DSOs 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
Meyersons 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 sponsors 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 weeks
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 tomorrows 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 DSOs 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 patrons 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 upto-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 its
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 users time
on the website.
The website is the face presented to the outside world. Most people are now comfortable
going to a companys website to get as much information as they can about companys
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 customers 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 redesigned.
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 DSOs 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
Symphonys 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 DSOs 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 DSOs 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. Dont send one touting the Mozart festival
to an individual who has only purchased items in the special events, or pops series. And
dont 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 Beethovens 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 DSOs involvement in educational programs. Similar
programs can be developed for the Dallas Independent School Districts 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
53
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 Orchestras 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 DSOs 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 DSOs 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
54
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. Its 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
55
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.
56
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 Andrews 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.
57
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.
58
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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www.fcsymphony.org
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What are the objectives of the Dallas Symphony Orchestra marketing plan?

What are the objectives of the Dallas Symphony Orchestra marketing plan?

What target markets has the Dallas Symphony Orchestra identified?

What target markets has the Dallas Symphony Orchestra identified?

Marketing Plan

Ten-Year Strategic Plan

Planning for Success

Exceed budgeted ticket sales levels for 2005-2006 season

Inadequate measures of marketing effectiveness

Downtown Dallas workforce and residents

Dependence on City of Dallas for key customer touch points

Target Market Strategy

Group 2: Low/No Involvement Alumni

Group 2: Low/No Involvement Alumni

Group 2: Low/No Involvement Alumni

Ovation Package- includes Mozarts best

Mozart, Tchaikovsky and More

Applause Package- includes American and

Classics from the American and European

Acclaim Package- features works of the

Classics from Around the World

N/A (New Package) Customize your own

Non-Traditional Product Strategy

Current DSO Distribution

targeted media, such as the Hispanic Journal, an award-winning Hispanic publication in

Advertising Traditional Programming

Based on previous recommendations, the DSO needs to develop some Non-Traditional

segments 1, 2, & 3. Additional promotion/information should be included on the DSO

Public Relations and Publicity

Additional Promotional Activities

Dallas Symphony Orchestra staff

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