Two researchers from Slover Linett at NORC will share key findings from their recent in-depth study identifying actions the classical music sector can take to engage potential new audience members of color.
Join us for a perspective-shifting webinar that explores the critical concept of relevance in today’s digital world. Former opera singer Ruth Hartt—now Chief of Staff at the Clayton Christensen Institute for Disruptive Innovation—leverages the powerful lens of customer centricity to challenge traditional assumptions and reveal untapped growth opportunities.
Join us for a 2½-hour interactive session with accomplished teaching artists Eric Booth and Hassan Anderson sharing their expertise in successful creative youth development through the tools of quality teaching artistry.
Join us for an information session to learn about our new Inclusive Stages initiative! The goal of Inclusive Stages, made possible by a generous grant from the Sakana Foundation, is to increase the racial diversity of musicians onstage in American orchestras.
This 60-minute session will address a tactical approach to “comprehensive giving” used to strengthen donor relationships and maximize revenue results across concurrently running campaign efforts.
Join us for a 60-minute webinar with Susan Nelson, who will unpack the ways assumptions have been upended by the pandemic, and how we need to think differently as we emerge into new financial realities.
Structural racism impacts every sector in America, including the orchestra field. But what are its origins? Join us for a 4½ hour online seminar led by Ayo Magwood, Uprooting Inequity LLC, to explore in three parts the historical evolution of structural racism.
In this 60-minute Catalyst Webinar, we’ll review two years of EDI work at the Nashville Symphony. Join us to explore how they have seized the greatest opportunities for growth, building perseverance and capacity along the way.
During the past year, a cohort of American orchestras has been collaborating to study audience attitudes about returning to live concerts.
Research tells us that early experiences – including what young musicians hear and perform – “stick,” but historically, repertoire for young musicians has not included contemporary works, especially not works from composers of diverse backgrounds.