This two-day conference will draw experts from music, technology, business, and media to Santa Barbara to discuss and debate the current role and the potential future of classical music in world culture. Free admission.
You won’t want to miss it!
MON, JUN 19
The Evolving Role of Tastemakers and Storytellers
10 AM / LEHMANN HALL
The range of media covering the arts has broadened tremendously during the past couple of decades. The audience is hungry and culturally literate, yet fickle and increasingly fragmented. Consumers listen to podcasts, watch videos, and follow opinion leaders and friends on social media. (Some of them even listen to the radio and read newspapers.) Journalists and critics are now scratching their heads when they consider the most effective tools and methods to engage these audiences. What is the role for cultural experts in the new media world?
MODERATOR: Charles Donelan, writer, Santa Barbara Independent
Jennifer Ferro, President, KCRW
Anne Midgette, Chief Classical Music Critic, The Washington Post
MONEY (THAT'S WHAT I WANT): HOW DOES OUR MUSIC EARN INCOME?
1:30 PM / LEHMANN HALL
The path to predictable incomes for musicians has become anything but. Today’s musicians have to be open to revenue opportunities from major and indie labels, self-distribution, sync licensing, videos, fan experiences, and teaching, in addition to live performance at home and on the road. Value and recognition are important but don’t pay the bills. How do successful musicians find the right mix of revenue streams that reward their abilities and successes?
MODERATOR: Phillippa Cole, Associate Director, Askonas Holt, London
Kevin Erickson, National Organizing Director, Future of Music Coalition
Corey Field, Corey Field Law Group, P.C.
ALGORITHMS VS. HUMANS: HOW DOES TECH CONTRIBUTE TO CULTURAL DISCOVERY?
3:30 PM / HAHN HALL
“Discovery” is the Holy Grail of every new type of digital media service: helping artists and fans connect and keeping them engaged, even while offering an exponentially increasing array of programming options. Live streaming, gaming, virtual reality and augmented reality have the potential to change the way we learn, how we create new work, and how we interact with art and artists. Will it deepen or cheapen the experience?
MODERATOR: Luke Ritchie, Digital Director, Philharmonia Orchestra, London
Nik Honeysett, Director and CEO, Balboa Park Online Collaborative
Toby Coffey, Head of Digital Development, National Theatre, London
TUE, JUN 20
LIVE PERFORMANCE: NEW SPACES / NEW EXPERIENCES
10 AM / LEHMANN HALL
Live musical performances have left the building – or at least the auditorium of the traditional concert hall. Musical performances of all kinds routinely take place in warehouses, shipyards, cars, bars, living rooms, beaches, big box stores, and more. Technological enhancements in the concert hall, once thought of as “extras,” are now integral to many new offerings. Is this sustainable (and desirable) for the future of our art?
MODERATOR: Chris Lorway, Executive Director, Stanford Live!
Sam Bodkin, Founder and CEO, GroupMuse
Yuval Sharon, Artistic Director, The Industry
PROGRAMMING THE ZEITGEIST: ART AS A RESPONSE TO SOCIAL AND CULTURAL ISSUES
1:30 PM / HAHN HALL
In a time fraught with tremendous tension and violent disagreement among the American populace, art has the opportunity to play a more central role in society, both in expressing dissent in cultural and political commentary, and also in bringing people with differing opinions together through establishing common or neutral ground. How can artists make their opinions heard and also increase their relevance among a part of the population who may not readily embrace political and social messages delivered through artistic means?
MODERATOR: Elena Park, Creative Consultant, Metropolitan Opera, Mozart in the Jungle
Kristy Edmunds, Executive and Artistic Director, Center for the Art of Performance, UCLA
Gabriela Lena Frank, Guest Composer
WHO LOVES YOU, BABY? FINDING AND KEEPING THE "NEW" AUDIENCE FOR MUSIC
3:30 PM / LEHMANN HALL
Audiences have changed and so have their expectations for cultural experiences. Who are these new audiences and where do we find them or how do they find us? What do they seek from their interactions with the arts? How do the wishes and expectations of new audiences impact presenters, creators and performers who also have to meet (exceed) expectations of the existing base What kind of experiences build loyalty and make new audiences want come back for more?
MODERATOR: Graham Parker, President, Universal Music Classics, USA
Christopher Koelsch, President and CEO, LA Opera
Yael Greenberg, Music Consultant, Kickstarter
Generously supported by Paul Guido & Stephen Blain