Page 36 - Bandworld Magazine 2015

The Art of Programming
by Patrick Sheridan
During their creation and staging musicals, operas, ballets, plays (and subsequent revivals) spend immense energy editing an experience that has flow which clarifies and amplifies the story. Content and sequencing are critical to maximizing emo- tional impact opportunities.
Content and sequencing in the concert setting offer opportuni- ties to increase the emotional impact of your product. I use pro- gramming to deliver an expectation that is set by concert title and marketing. I use sequencing to deliver a concert energy that goes beyond what an audience member expects. When expectations are exceeded, fans are made. Fans are advocates (They’ll tell their friends about their exceeded expectations). Advocates create momentum. Momentum leads to increased opportunity.
Programming serves whom?
In nearly 25 years of programming concerts there are always three constituents I am serving as the programmer. If my goal is to build a fan base for my organization’s concerts, then the au- dience must be included in my thought process about program- ming. If my goal is to create a passion for music where per- formers are engaged in music that teaches and inspires them, then the ensemble members must be included in my thought process about programming. If my goal is to give myself oppor- tunity to work on music that teaches and inspires me, then my personal artistic wishes must be included in my thought process about programming.
I will admit that consistently fulfilling the expectations of all three constituents with different needs (audience, ensemble and self) with repertoire that satisfies everyone is difficult. Tinker- ing with the order of a program to create an additional energy resulting from programmatic flow is also important. This is done in staged works routinely - why would we not apply this ethos to the concert setting?
36 Fabulous concerts are not just about putting well rehearsed
music on stage and playing it. That is a fine concert. If you desire a loyal fan base for your organization then content and sequencing is a programming skill set that must be developed.
We want all of these things, right?
Of course! However, there is a priority list of importance to these constituents which shifts between the audience and the performers depending on the situation (i.e. Halloween concert (more audience centric) differing from a festival performance (more ensemble centric)). For my programming situation - a community ensemble - the audience comes first. If the audience doesn’t come, the group has fewer ticket sales which means less revenue which leads to less programming variety which leads to less interest from the band members. Inside of making the audience experience the priority, I need to program music the community musicians (volunteers) want to play. There has to be enough variety to keep their interest. There has to be mu- sic that both stretches them and is also technically achievable enough to create feelings of mastery upon performance. The synergy of musician enjoyment and audience delight creates the energy we hope for in a concert experience!
The Audience Expectation
Brand driven commerce depends on a scenario in which an ex- pectation is portrayed strongly enough to create a decision to purchase (or participate). Consumer satisfaction derives from the portrayed expectation being met or exceeded.
For example, fast foods chains set an expectation for how their food looks, smells, tastes and costs. When those expectations are advertised so that you’ll purchase, you expect to have those expectations met. If they are, you feel satisfied and are likely to purchase, again. If they are exceeded, you become a fan and will definitely purchase again AND tell your friends. If expec- tations are not met, you are not satisfied and therefore may not purchase, again. (AND - will probably tell your friends.)
This is the same opportunity we have when we present a concert. An expectation can be portrayed so that a potential audience member understands what to expect. This sets up the organiza- tion for the opportunity to meet and exceed their expectations thereby creating fans who continue to consume our organiza- tion’s product and potentially support in additional ways.
How is a concert expectation set?
Thematic concerts offer an excellent way to portray an expecta- tion. Titles like An American Dream, Bright Lights - Big City, Irish Eyes are Smiling, Embraceable You, Home for the Holi- days, or All That Jazz are descriptive enough by words alone to set an expectation for what kind of music will be heard.
Themes that are narrow, while difficult to program for, offer vivid opportunities to delve into a theme more deeply. Ethnic concerts fit these nicely. For example - Bella Notte (Italian),
“Thank you for making us all feel so included. I love being a part of ABC!
Patrick Sheridan ABC 2015