VYSO Research Document

2012

VYSO Research Report Logical Art – Set L Chelsea Brynildsen, Mandy Butler, Sandy Cho, Kevin Willemse, Sona Zavandi

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Table of Contents Executive Summary ........................................................................................................................3 Introduction ...................................................................................................................................4 Research Phases .............................................................................................................................5 Phase 1: Secondary Research Overview................................................................................................... 5 Research Objective ...................................................................................................................................... 5 Research Topics - Internal ............................................................................................................................ 5 Research Topics - External ........................................................................................................................... 6 Research Methodology ................................................................................................................................ 6 Phase 2: Qualitative Research Overview ................................................................................................. 6 Research Objective ...................................................................................................................................... 6 Research Topics ........................................................................................................................................... 6 Research Methodology ................................................................................................................................ 7 Phase 3: Quantitative Research Overview ............................................................................................... 8 Research Objective ...................................................................................................................................... 8 Research Topics ........................................................................................................................................... 8 Research Methodology ................................................................................................................................ 8

Secondary Research Analysis ..........................................................................................................9 Introduction ............................................................................................................................................ 9 Research Analysis.................................................................................................................................... 9 Summary ................................................................................................................................................ 9

Qualitative Research Analysis.......................................................................................................10 Introduction .......................................................................................................................................... 10 Research Analysis.................................................................................................................................. 10 VYSO Awareness ........................................................................................................................................ 10 VYSO Marketing Efforts ............................................................................................................................. 11 Current Opinions ........................................................................................................................................ 12 Concert Experiences .................................................................................................................................. 12 Locations/Venues....................................................................................................................................... 13 Attendance/Involvement Motivation ........................................................................................................ 14 Audience Insights ....................................................................................................................................... 14 Summary .............................................................................................................................................. 15

Quantitative Research Analysis ....................................................................................................16 Introduction .......................................................................................................................................... 16

Research Analysis .........................................................................................................................16 Respondent Profile ............................................................................................................................... 17 VYSO Involvement ................................................................................................................................ 22 Barriers ................................................................................................................................................. 27 Satisfaction ........................................................................................................................................... 28

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Performance Format ............................................................................................................................. 31 Venues .................................................................................................................................................. 40 Communication..................................................................................................................................... 44 Tickets .................................................................................................................................................. 53

Limitations ...................................................................................................................................58 Conclusions ..................................................................................................................................59 Secondary ............................................................................................................................................. 59 Primary ................................................................................................................................................. 60 Qualitative.................................................................................................................................................. 60 Quantitative ............................................................................................................................................... 60

Recommendations .......................................................................................................................60 Target Market Focus ............................................................................................................................. 60 School Involvement............................................................................................................................... 62 Timing of Concerts ................................................................................................................................ 62 Pricing ................................................................................................................................................... 62 VYSO Newsletter ................................................................................................................................... 63 Partnership & Collaborations ................................................................................................................ 63

Bibliography .................................................................................................................................64 Appendices...................................................................................................................................65 Appendix 1 - VYSO Student List ............................................................................................................. 65 Appendix 2 - Focus Group Questions ..................................................................................................... 69 Appendix 3 - In-depth Interview Questions and Answers ...................................................................... 70 Appendix 4 – Online Survey................................................................................................................... 72 Appendix 5 - Data Tables....................................................................................................................... 82 Appendix 6 – Cross Tabulations ........................................................................................................... 137

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Executive Summary Logical Art was sought out to conduct secondary and primary research for the VYSO, in order to meet key objectives. Objectives were identified as: • •

Increase the audience size of performances Identify a new target market for performances

The team was able to meet these objectives by recommending the following actions.

• • • • • • •

Direct advertising efforts, such as language and placement of newsletters and flyers, to align with the previously identified Asian target market.

Increase audience size by targeting a new market of local elementary school students and their families.

Maintain current performance schedules, with performances held on weekday afternoons and evenings.

Substantially increase the VYSO’s presence on social media channels such as YouTube, Twitter, and Facebook.

Introduce payment of $6-10 each for performance tickets, and/or season tickets for $25-50.

Integrate the newsletter through social media and the VYSO website in order to facilitate sharing the newsletter and increase referrals.

Partner and collaborate with other classical or VYSO orchestras to increase the attendance draw.

Through secondary research, Logical Art was able to gain an understanding of VYSO practices, the current target audience and their behaviors and preferences, market trends, and areas for improvement. Secondary research helped to identify the problem that friends and family were relied on to grow audience numbers without the resources to do so. It also uncovered areas for further investigation through primary research methods.

Qualitative primary research consisted of a focus group of current VYSO students’ parents and an in-depth interview with a VYSO alumnus. Quantitative data was collected from a 39-question long email survey, which was sent to approximately 800 people in the VYSO database, and was completed by 142 respondents.

Primary research uncovered • • • • • •

the level of the current target audience’s awareness, current feelings towards marketing material and communication channels, current satisfaction levels and opinions, feedback and insight to the general VYSO concert experience, venues and performance format, current attendance behavior and motivations to attend, and future attendance behavior and motivators.

This report presents Logical Arts research findings in detail, and includes analysis and the recommended marketing efforts and actions the VYSO should implement.

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Introduction The Vancouver Youth Symphony Orchestra (VYSO) began in the 1930’s. The VYSO established programs to help facilitate a training series for talented youth; and since its beginnings, the VYSO has continued to be committed to this rich tradition of fostering young talent to date. Now the VYSO is regarded as one of B.C.’s premier youth orchestras. Each year there is an open forum for new talent to come and audition for placement in the program. It is very competitive to receive placement within the program and the youth must demonstrate commitment and dedication toward their musical interest. The VYSO provides the opportunity for their students to showcase their talent and expose them to a worldwide audience.

The Vancouver Youth Symphony Orchestra (VYSO) is a training orchestra that offers four different levels: Debut, Junior, Intermediate, and Senior, ranging from seven to 21 years of age. The VYSO provides quality training for its students with rehearsals, workshops and performances. The VYSO has established many young musicians go to play in the Vancouver Symphony Orchestra (VSO) and have allowed their students to go on to other successful musical careers.

One issue the VSYO faces is the low attendance numbers for its performances. Currently, only family and friends are attending scheduled performances while the general public and those with no association do not attend. The VYSO’s mission is to “nurture and develop young musicians, both artistically and as individuals... contributing to the dynamism of the local and provincial community.” In order for the VYSO to fulfill their commitment they feel it is necessary to increase their audience attendance during performances, allowing their students to make a difference within the community while teaching them to perform through a full orchestral experience.

The purpose of this research project is to discover why audience numbers are low. Secondary and primary research will be conducted in order to find appropriate solutions and recommendations in order to comb at the specified problem above.

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Research Phases Phase 1: Secondary Research Overview Research Objective Secondary research was collected from available sources to gain knowledge and insight about all aspects of the VYSO. This provided a basis to conduct primary (and further secondary) research to fill knowledge gaps and delve further into particular areas of interest.

The Secondary research reveals key internal and external information regarding the VYSO and details regarding: • • • • •

Existing VYSO staff, patrons and students (see Appendix 1 for student lists) VYSO events calendar (dates, frequency, successful events) Existing VYSO marketing and promotional efforts Operating and production revenue/costs (concert fees, student fees, sponsorships, donations, ticket fees, and similar financial data) Industry trends, potential target market and competitors

Research Topics - Internal Events • Calendar • Past Success • Community Events Promotion Efforts Students • Debut • Junior • Intermediate • Senior Current Audience/Market Staff Advocacy Revenue/Expenses Sponsors and Donors

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Research Topics - External • • •

Industry and Trends Market Other Youth Orchestras o West Vancouver Youth Band Society o Delta Youth Orchestra o Surry Youth Orchestra o Richmond Youth Orchestra

Research Methodology Available public and library resources were utilized to access data. This includes: • • •

Public websites (www.vyso.com, www.vancouversymphony.ca; search engines) Statistics Canada (population breakdowns of Vancouver, income levels and ethnicities) Published events guides (other youth orchestra organizations) PCensus/Prizm C2 (demographics of parents, students and competitors)

Phase 2: Qualitative Research Overview Research Objective Qualitative research was collaborated with secondary research findings to determine and analyze the current attitudes, beliefs and potential concerns of members within the organization, and current target audience members.

Open-ended questions address or clarify areas where secondary research does not provide adequate information. The qualitative data was analyzed to provide further insight and recommendations to ascertain the involvement, attitudes, perspectives and opinions of VYSO alumni, parents and attendees.

Research Topics • • • • • • • • • • •

Reason for their child's enrolment in the VYSO Current attitude toward the VYSO brand Current satisfaction, specifically opinions of the VYSO’s training and performances Current attitude toward VYSO performances Current preferences or trends in classical music Current motivation for attending VYSO performances General concerns, impressions, opinions and ideas Most or least notable experiences regarding VYSO past performances What would increase motivation to attend Future intent of attending more or less performances Potential areas of improvement for the VYSO

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Research Methodology Focus Group Open-ended questions were presented in a focus group of selected VYSO parents and/or performance attendees to address or clarify areas where secondary research does not provide adequate information.

The focus group was held with parents of the VYSO’s Junior orchestra during their child’s rehearsal at the St. James Community Centre - Saturday, October 13th 2012, 9:15am-11:30am. Eight parents of the junior symphony orchestra students took part and provided responses to our posed questions (one being a VYSO board member). The focus group was moderated by two research team members, general notes taken by another two members, and the discussions were audio recorded for future reference.

The participants were recruited by the VYSO board members as parents of enrolled junior students, and were profiled as follows: 1. Yu Quan Ng 2. Karen Chai 3. Claudia Pauli 4. Yong Zhang 5. Fan Zhang 6. Joanna Chung 7. Ann Huang 8. Vivien Lu

Chinese Chinese Eastern European Chinese Chinese Chinese Chinese Chinese

Female Female Female Male Female Female Female Female

Vancouver Vancouver Vancouver Richmond Richmond Vancouver Burnaby Surrey

The overriding presence of Chinese participants is representative of the Junior group’s enrolment, also consisting predominantly of Chinese students. All participants have one child in the junior group, and this is representative of the audience members during concerts, which consists primarily of parents and family members.

The questions and discussion topics posed during the focus groups were devised to uncover attitudes, barriers, motivations and opinions (see Appendix 2 for a list of focus group questions) In-depth Interview An in-depth interview was conducted via telephone with an alumnus of the VYSO. The interview lasted for 30 minutes and began at 7:20pm on November 6th, 2012. The interviewee is named Sarah Kwok who played the viola from 1997 to 2000 within the Senior level. Kwok was assigned to be interviewed as she was not chosen or randomly drawn. The meeting was conducted by one interviewer who asked several questions as was prepared prior to the interview. The discussion was structured to be casual without compromising the integrity of the goals of the interview.

The discussion with Kwok uncovered that she played in the VYSO while she was between the ages of 16 to 19. Before her time at the VYSO, she played with the Delta Youth Orchestra.

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The discussion questions with Kwok during the interview were designed to discover her attitudes, opinions and aversions towards the VYSO (see Appendix 3 for a list of in-depth interview questions)

Phase 3: Quantitative Research Overview Research Objective Quantitative survey data was collected in order to formulate a deeper understanding of the current situation, with subsequent analysis of results. Collected data is quantifiable and measured against other data sets. The results are then mined, reused, and analyzed to form comparisons, identify trends, and formulate projections and future recommendations. This information is used primarily for segmentation, analysis, and comparative purposes against other orchestras, industry norms, and demographic and psychographic profiles.

Research Topics Quantitative data reveals insights into: ● ● ● ● ● ● ● ● ● ● ● ● ●

Who is the current audience and current database contents Current audience involvement Current audience motivation to attend performances Current audience barriers to attend performances Current audience satisfaction with performances Current audience feelings towards performance format Suggestions for performance format Current audience venue preferences Current audience communication behaviors and awareness Feelings towards ticket pricing Audience future motivations New audience suggestions General suggestions

These research topics are then analyzed, and guide further recommendations.

Research Methodology A survey consisting of 39 questions was sent to a database of 2,000 VYSO members, of which around 800 were valid. Snap 10 was used to create the survey, with a mix of dichotomous, grid, multi/single response, and weighted scale questions. The responses were gathered in the Snap Webhost client, and then extracted to Excel for XLDA analysis and charting.

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Secondary Research Analysis Introduction This section presents and analyzes information gathered from secondary resources. It forms the basis of further research activities, and provides overall information to assist with any recommendations and future decisions.

Research Analysis The VYSO follows a recognized and successful structure (four tiers of progression), produces talented and dedicated musicians, and manages to draw in sufficient revenues through its student fees, various fundraising efforts, and sponsors. The VYSO has some of the lowest student fees available; this may contribute to their ability to fill positions year after year, in fact turning away applicants occasionally.

(Dangerfield, 2012) The GRVD has a very competitive youth orchestra movement, shown by many strong competitors all competing for audience share. The VYSO has fewer concerts than some competitors, but still has a healthy calendar of events, and has shown its skill by performing at very successful concerts (e.g. Youth Orchestra Extravaganza) and landmark events (e.g. 2010 Winter Olympics closing ceremony).

However, the VYSO faces some obvious challenges. Audience attendance is far lower than they would like and can accommodate, and depends too much on family and friends to fill seats. This can be largely attributed to lackluster marketing and promotional efforts, which have not received much attention.

The current promotional and marketing approach of occasional website updates, relying on advocates to spread awareness of their efforts and concerts, and minimal presence and activity on social networking sites, obscures the VYSO’s market presence and diminishes their audience potential. A dedicated, visible marketing campaign does not exist, and the current efforts have only maintained the current turnout, not improved it. This is in contrast with other youth orchestras (e.g. Delta Youth Orchestra) who display a far more concerted effort to market their brand and raise awareness.

Another trend worth noting is that the public is becoming more accepting of orchestral music, especially since they are adopting more contemporary performance pieces and movie scores. The VYSO has not adopted such a change, but should consider this as a means to increase audience numbers and public interest.

Summary The VYSO has a successful and sustainable business model, strong affiliations, and enjoys relative success.

However, it relies on a very weak and narrow marketing and awareness campaign which limits their audience growth potential, which is their primary concern.

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Qualitative Research Analysis Introduction This portion encompasses the information retrieved through primary research. Data will be collected through an in-depth interview with VYSO alumni and through observations of the VYSO parents, guardians and attendees during a moderated and observed focus group. The qualitative research is gathered through specifically designed discussion questions; utilized to create conversations that discover current opinions, attitudes and concerns with the VYSO.

Research Analysis With the collection of the qualitative data, several findings were discovered. The questions were designed to elicit conversations; the following key issues and occurring themes were recorded under the following categories and are covered in this document: • • • • • • • •

VYSO awareness VYSO marketing efforts Current opinions Concert opinions Concert experiences Locations and venues Attendance and involvement motivations Audience insights

VYSO Awareness Many of the parents were introduced to the VYSO through their child’s extracurricular music teachers, or through school music programs. If they did not enroll their children into the VYSO or in classical music lessons, they would not have otherwise been aware of the orchestra. Part of the reason is due to the lack of advertising for the shows. One participant (board member) attended the VYSO concert with her daughter after seeing the poster for the 80th Anniversary Performance. Word-of-mouth between parents attending school functions and through casual conversations spread awareness. One participant suggested the VYSO should advertise more frequently at cultural events or festivals (esp. Asian/Chinese festivals).

Participants were questioned regarding why they were attracted to the VYSO over other competing youth orchestras. Most were unaware of nearby competitors, but one participant from Surrey, chose the VYSO over the Surrey Youth Orchestra because she wanted her child, who played violin, to play with a more diverse string section. Other reasons why they chose the VYSO included:

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• • • •

VYSO is the most famed youth orchestra; VYSO has a full Cello and Viola section (amongst the typical violin string section); Music teachers at the VYSO are reputable for their tolerance with children; General consensus that the VYSO is regarded as the most prolific and “best” orchestra.

One participant particularly liked the idea of having a female conductor, and she was impressed with the personal quality and leadership the conductor portrayed with her students and paid personal attention to the musicians at all times. Everyone agreed with this opinion, and someone added that it is a quality they would like their child to learn and adopt.

Awareness is a variable that influences parents to register their children into the VYSO. It was discovered that the children who have played within different orchestras do not see nor experience any differences among them. During the in-depth interview, it was discovered that Kwok had played for the Delta Youth Orchestra before playing with the VYSO. She was about 16 years old when she switched, an age where cognizant differences could have been revealed. Therefore, enrollment is due to the parent’s awareness of the orchestras and the orchestra’s reputations.

The majority of participants believe that the VYSO has a good reputation, and due to this, word-of-mouth is a very effective method of creating awareness and advocacy. In the past, when they have enquired after various youth orchestras, the VYSO is the most recognized and recommended from their peers (fellow parents and peers).

VYSO Marketing Efforts Marketing efforts from the past and present are not strong.

Past marketing efforts were not memorable and were usually based on word-of-mouth through music teachers telling parents that their child should join the VYSO. There was a group consensus that online advertising and presence is lacking, and specifically recommended, a more up to date website that facilitates easy navigation and detailed, upcoming event information. It was noted that almost none of the members accessed the VYSO website regularly, if at all, because it was thought to contain outdated, irrelevant information. It was mentioned that the use of links and online advertisements from related sites would potentially grow the VYSO’s web presence.

The use of community marketing and awareness efforts was put forward; local radio, posters at community centers, and at schools (public, private and/or music schools), and was agreed to be effective. Grocery store notice boards (catering to Chinese and Korean patrons), local paper advertising and flyers, and cultural publications (e.g. The Georgia Straight) were also suggested touch points.

The VYSO’s newsletter was discussed, and the group said that while it is very well put together, they would be more likely to share it with friends and family if it was sent as a .pdf package, perhaps more tailored towards potential audience member recruitment. The use of graphics and colorful elements would make it attractive and more interesting. It was suggested that printable or e-tickets be attached to the document, to

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provide a more “physical commitment” to attending upcoming performances. While the concerts would/may be free of charge, the recipients could present the email or print out the e-ticket to show at the door.

Current Opinions The group was asked questions to establish their opinions of the VYSO since enrolling their children in the Junior symphony orchestra.

One participant felt that joining the VYSO is only recommended for people who want a career in music and people who want to gain valuable experience playing an orchestra instrument.

All the participants were pleased with VYSO’s reputation, and all that it delivers to the students. They feel that the orchestra has delivered exceptional services and teachings to the children. One participant mentioned that her daughter was unhappy in the Debut group, but having changed to the Junior group with a new conductor, she is enjoying the orchestra and her perceptions have changed.

They believe at the Junior level, the children receive high credentials and are perceived as true professionals.

This is augmented by the fact that the VYSO is affiliated with the VSO, and actually partner with them at the Senior level.

Another key factor that impressed the participants was that the VYSO holds its concerts at prestigious venues, which they believe is very important for the children, as it gets them used to playing at a professional concert atmosphere. A student was mentioned as being very shy, but was so impressed with the Michael J. Fox Theatre she had no troubles performing to the public. The Michael J. Fox Theatre was agreed to be one of the favourite venues for all the participants.

Kwok said she enjoyed her time at VYSO and she still keeps in touch with some fellow students. Her positive experience from the VYSO has led her to teach students how to play the viola. She has three students (aged 14, 20 and 30) and she said she would recommend them to join the VYSO because it was such a great experience for her. Unfortunately, she also believes that her students would not want to join the VYSO, despite her advocacy, as she labeled them “casual” players.

Concert Experiences The group was asked to discuss their overall experiences while being involved with the VYSO and attending their concerts, in order to establish overall impressions with the VYSO’s current and past activities.

One of the most memorable experiences that all the participants agreed on was the Cookie Exchange Social that took place after one of the recent concerts - although the cleanup afterwards was mentioned as tiresome, and not appropriate for some venues. However, there was no substantial interest in having a regular bar/restaurant at the venue for drinks or snacks, before or after the concert.

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All the participants from the focus group unanimously agreed that one thing that would make them enjoy the performances more would be themed concerts. Some of the proposed themes were: • • •

Famous Composers – e.g. Vivaldi (some composers’ choices are not liked) Spring themed performances Christmas/holiday themed

The main reason the group believe themed shows are more attractive is because they allow an outside audience, or fellow parents who are not particularly familiar with classical music, to understand what they can expect. This recognition was agreed to be the reason that the Christmas shows are the most attractive, approachable and largely attended. This attracts a broader audience who may not be familiar with traditional classical music and/or the orchestra.

The Chinese Railway Worker Memorial Concert was mentioned as a very enjoyable experience. It was well advertised by its sponsors within, and attended by, the Chinese community. The fact that this concert was free and at a convenient time, was seen as a major benefit as well.

An overriding sentiment was how well participants responded to joint performances. The recent collaboration concert with the Toronto Youth Orchestra was used as an example, since it was extremely well publicized and attended. Suggestions were made that even local youth orchestras (e.g. Surrey, Chilliwack) could be called upon for concert performances - they feel this would improve the variety of the concerts as well as challenge the students. This led into a discussion that partnerships were something that would make performances more attractive, be it with other orchestras or even dance or choir groups.

Locations/Venues The VYSO plays at various concert halls and public venues. The group agreed that they enjoyed the Chan Centre and UBC theatre. Most liked the Michael J. Fox Theater, but mentioned it was far for most people to travel. The group was not fond of the Nikkei Center venue as it is viewed as too small, and it is hard to view their children on an un-elevated stage.

All from the focus group respondents were very supportive of having their children play at more outdoor, public space venues, such as festivals, cultural events, and shopping centers. The perception from the VYSO board that the Chinese community do not enjoy going out to events was discussed, and unanimously contested; the parents said they would “love” for their children to play at and attend a larger variety of nontraditional concert venues.

Taking part in or organizing an annual orchestral camp was also discussed. Most parents were in strong support of an orchestral camp traveling within B.C. to perform at remote destinations and with other orchestras, perhaps during Spring break. It was felt that this would nurture their experience and make them more professional performers. The group agreed that Junior performers (around 12 years and older) would be suitable for traveling to performances in B.C., and at later stages, would support them traveling to other destinations across Canada. One participant mentioned they would like to see their child travel internationally, but the issue of cost (and frequency) of traveling must be considered for all parents.

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Vancouver was agreed as the best location for afternoon performances during weekends, but not during the week, apart from Friday evenings. Late Sunday afternoons were agreed to be the most appealing time slot.

The overriding issue was that everyone has busy schedules, so deciding on a time, date and venue that takes into consideration these factors will prove most successful.

Attendance/Involvement Motivation The attendees have been and are usually parents and family members of the students who play at performances.

The majority of the participants agreed that they attend all of their children's performances, since the children are in such a young age category they must be dropped off and picked up from practices and performances.

The participants feel the need to stay throughout the performances and rehearsals to support the children, and keep track of the musician’s progress in the orchestra. They also stated that very rarely do they attend performances put on by the other orchestra levels (debut, intermediate, senior), and feel this is common among many other parents of the orchestra members. Reasons given for this were: • • • •

Most families are very busy with other commitments Time restraints associated with having more than one child Other performances they must attend (e.g. school, Christmas and Spring concerts) Other activities the kids are involved with

However, the participants felt that getting students to attend the higher level students’ performances would be a good learning experience and motivation for their children.

As mentioned, the Chinese Railway Worker Memorial Concert held a few years back was a highlight for attendees. The show was outstanding, and participants believe it was due to the heavy sponsorship by the Chinese community that raised so much awareness, and thus, attendance figures. The concert was held in the afternoon, and the participants all agreed it was perfect time for young children and seniors to attend.

Adding to this, the participants believe that a change in concert time would motivate a more diverse group to attend.

Audience Insights A female participant mentioned she had played piano all her life and loves classical music, and she believes, in this day and age, it’s hard to find many classical music fans. The same participant thought the VYSO would have more success in attracting larger audience members if the concerts were less formal and were held at malls/outdoor venues. In a mall, the parents with young kids don't feel restrained, as their kids can make noise and move around without disturbing anyone. Most of the participants liked the “free” aspect to the public venues, as well as it’s not as formal as a concert hall.

Another venue discussion revolved around parks and senior homes. Playing in these public places creates awareness and displays the different levels of performance. A problem noted was that it is hard to organize

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60 kids to go to a venue that they don’t have control over, especially regarding issues such as space and timing.

Mostly immediate family members attend all the concerts, and there are some outside guests (non-family members) that attend the Christmas concert. A challenge with recruiting outside audiences to attend performances is that many feel that if they do attend these concerts, they would feel obligated to reciprocate by attending the concerts of their friends’, and they don’t have the time.

Raising prices for concerts would also deter others to attend, especially extended family members and friends. It was suggested and agreed that $20 was too expensive for a ticket price, but that a price around $10 would be acceptable. The general sentiment was that audience members wouldn’t mind paying a price, depending on the level of performance (members would pay more to see higher level). The Debut and Junior orchestras have more of an attending audience due to their younger age.

To attract more people, the group believed that promoting the concerts at school level is a good idea, so that other parents and kids can attend or be exposed to the music. A few participants liked the idea of having more private concerts at churches; that way they could see their child more easily than at larger venues. Although they would like to hold smaller performances for practice and exposure, they still like larger venues as well. The participants also believed it is important for their children to play in places like M.J.F. Theater, as the children become comfortable performing in a large concert hall atmosphere.

Summary After conducting qualitative research in order to uncover the current attitudes, beliefs, and concerns of the members within the VYSO community; several key issues were addressed. The majority of the participants became aware of the VYSO through their child’s music teacher. Most of the participants felt that the reputation of the VYSO, and the credibility of the instructors, provides an excellent learning environment for their children. All of the participants are somewhat involved with or were involved with the VYSO. Some common themes that were found include the fact that all believe the VYSO provides a great experience for a child’s musical experience. Most people who are aware of the VYSO were not exposed to much advertising or marketing from the VYSO; as awareness was mainly generated through word-of-mouth. All the participants felt that the VYSO is reputable in comparison to other orchestras within the lower mainland. In addition, attendance to performance is usually from a current association with the VYSO. Unless they are involved with the VYSO or if they have a child who is performing at a concert, they will likely not attend a concert. Due to busy schedules, the participants will not attend performances despite enjoying them.

A key area of improvement is the presence of the VYSO in the media and local community through advertising efforts. Some suggestions were provided to determine ways to better communicate with appropriate audiences, thus increasing audience size for performances. In addition, the participants recommended that the VYSO take into account the venue and timing of performances, as those are major elements that affect the parent’s concert experience. In conclusion, the information and insights gathered

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from the participants, helped clarify and fill psychographic and behavioral information gaps where inadequate or missing information was present from previous, secondary research.

Quantitative Research Analysis Introduction The quantitative research consisted of a simple consolidated online survey. Questions were pooled with other researchers’ surveys to form a unified database of questions and responses (as mandated by BCIT and the VYSO). The survey will be sent via email, to the VYSO’s current database consisting of parents, staff, alumni and other affiliates. There are approximately 2,000 people in the database. With an estimated 40% of those records containing relevant contact information, the survey will be sent to 800 people. A copy of the online survey is found in Appendix 4.

If permissible, the same survey will be made available online and shared with attendees nominated/invited by those surveyed.

Research Analysis 142 people responded to the survey. An overview of who these respondents are is as follows.

Note: The current VYSO database consisted of many more contacts with either outdated contact information, and was not received, or those who did not wish to receive further communications from the VYSO. All data for the graphs and analyses below are found in Appendix 5.

Select data elements were further analyzed via cross tabulation in MS XLDA to see if trends could be discovered, or if further answers or insight could be gained into specific areas of concern. Only the significant cross tabulations are included. Data for Crosstabs are found in Appendix 6.

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Respondent Profile Q1: What is your affiliation with the Vancouver Youth Symphony Orchestra (VYSO)? Check all that apply.

Respondents' Affiliation with the VYSO 100% 80% 54%

60% 40% 20% 20%

11% 1%

1%

6%

6%

13% 4%

1%

11% 2%

0%

Sample Size: 142 This question asked respondents to indicate how they are affiliated with VYSO. They could give multiple responses. The majority of respondents that filled out the survey are a parent of a current VYSO student (54%). There were also parents of former students (20%), volunteers (13%) and alumni (11%) that represented a significant amount of respondents. Very few currents students, relatives, current/former board members, administrative/conducting staff, and donors participated in the survey. Current students were not eligible to complete the survey, however routing errors did occur.

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Q2: What orchestra does your child play in? If you have more than one child with VYSO, please indicate for each child.

First Child 's Orchestra Level 100% 78.9%

80% 60% 40% 20%

5.3%

5.3%

Debut

Junior

10.5%

0% Intermediate

Senior

Sample Size: 19 The majority of parents (sample of 19) have one child in the orchestra, with most being a part of the senior class level. Two respondents have a second child in the orchestra, both in the senior orchestra as well.

Q3: How long have you been affiliated with VYSO?

Years Affiliated with the VYSO 50% 40% 30%

22.0%

20%

19.9%

21.3%

24.1% 12.8%

10% 0% Less than a year

1-2 years

3-4 years

5-10 years

More than 10 years

Sample Size: 141 There was a fairly even spread of how long people are affiliated with VYSO, ranging from less than one year to more than 10 years. The highest being 5-10 years at 24.1%

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Q35: Where do you live?

City of Residence 100% 80% 55.6%

60% 40% 20%

12.8%

12.0%

3.8%

12.0%

3.8%

0% West Vancouver

North Vancouver

Vancouver

Burnaby

Coquitlam

Richmond

Sample: 133 Over half of the respondents live in Vancouver and about a third of respondents live in North Vancouver, Burnaby, or Richmond. Few live in West Vancouver and Coquitlam. This shows a strong correlation of respondents living close to one another. One respondent each from Abbotsford, Langley, Lions Bay, Maple Ridge, Surrey, and White Rock were recorded in an “other� section, and two currently living in Ontario.

Q36: Please indicate your age.

Age Groups 100% 80%

63.8%

60% 40% 20%

28.3% 2.9%

0.7%

0.7%

Under 19 19-24

25-29

3.6%

0% 30-44

45-64

65 and over

Sample Size: 138 Almost all of the respondents are between the ages 30 to 64, as the majority of the respondents are parents of students currently in the orchestra. There were 28% of respondents in the 30 to 44 category and 64% of respondents are in the 45 to 64 category.

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Q37: Please indicate your gender

Gender 100% 76.7%

80% 60% 40% 23.3% 20% 0% Male

Female

Sample Size: 133 77% of respondents are female, while the remaining 23% are male. This indicates that most mothers handle the communications from the VYSO and most likely volunteer work and general involvement as well.

Q38: Please indicate your total annual household income.

Annual Household Income 50% 40% 30%

23.0%

25.7% 21.2%

20.4%

20% 9.7%

0% Less than $40 000

$40 000 to $69 999

$70 000 to $99 999 $100 000 to $149 999 $150 000 or more

Sample Size: 113 Over 90 percent of respondents make over $40,000 a year, with most earning $100,000 to $149,999. Income levels are generally even among survey respondents, with no large segment earning more or less than others.

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Q39: Please indicate your ethnicity.

Ethnicity 100% 80% 60.0% 60% 40%

38.4%

20% 1.6% 0% White/Caucasian

Asian

South-East Asian

Sample Size: 125 Out of all the respondents, 60% are of Asian descent and 38% are White/Caucasian. The only other ethnicity that is mentioned in the “other� section is Chinese-Canadian (English speaking).

The profile of the survey respondents was similar to the previously defined target market identified in the secondary research analysis, with the majority being parents of students of Asian descent, who are aged 3064 and reside in Vancouver B.C.

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VYSO Involvement Q4: Have you ever attended a VSYO performance?

Attended a VYSO Performance 92.2%

100% 80% 60% 40% 20%

7.8%

0% Yes

No

Sample Size: 141 The majority of the respondents have attended a VYSO performance. Some of the “No” respondents may have new children entered into the orchestra, and therefore haven’t had the chance to watch their child(ren) play in a concert. Or it could be alumni who have not attended a VYSO performance as an audience member but who have performed in a concert themselves.

Q5: How often have you attended VYSO performances in the past year?

Attendance in the Past Year 50% 40% 25.4%

30% 20%

26.2%

13.8%

21.5% 13.1%

10% 0% 1 time

2-3 times

4-5 times

6 or more times

I haven't been in the past year but have been previously

Sample Size: 130

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The results show that 51.1% of the participants go quite frequently, between 2-5 times a tear. However 21.5% of the participants indicate they have not at all attended in the past year. Since there are around 20 performances a year, attendance can definitely be improved. A better understanding of what motivates audience members would help with the future of how often someone would attend VYSO performances.

Crosstab 1: Attendance In Past Year and Child/Student Performing (Q5xQ7-1,Q7-4 The strength of the relationship audience members has with students who are performing at a concert and the number of times one attends a concert shows a linear relationship. The closer an audience member is to a performer, shows their likeliness of attending a performance. Within the results, it shows that parents show the highest attendance levels in comparison to music teachers and others.

Crosstab 2: Attendance In Past Year and City (Q5xQ35) With the variables of city in which one resides in and the attendance in the past year, a significant relationship was found. The closer one lives to Vancouver, the more likely he or she is to attend performances of the VYSO. It was found that the majority of attendees live in Vancouver.

Q6: When you attend a VYSO performance, which level of orchestra do you typically attend?

Check all that apply

Attendance per Orchestra Level 100% 80% 57%

60% 37%

40% 20%

22%

20%

12%

0% Debut

Junior

Intermediate

Senior

All

Sample Size: 130 Majority of the respondents attend the senior level (57%) while 37% attend intermediate, 22% attend junior and 20% attend debut. 12% respondents attend all the performances. Since the majority of the audience members prefer attending the senior level performances, it could be several things: respondents like to

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attend orchestras that have more experience, the respondents are only from family or friends of senior performers, or that the senior performances are more preferred.

Q7: What are your motivations to attend a VYSO performance? Check all that apply

Motivation for Attending 100% 80%

66%

60% 35%

40% 20%

11% 1%

12%

12%

14%

6%

0%

Sample Size: 130 The demand for motivations of attending showed two clear trends - 66% attend because their child is performing and 35% attend because they enjoy the performances. Very few respondents are relatives or enjoy the social interaction at the performances. It seems that the main motivation which drives people to attend concerts is the fact that their child is performing. This may be a negative factor especially trying to increase audience numbers by those who are not parents of children involved in the VYSO. Therefore, more motivations or potential motivations may need to be found in order to increase overall awareness and attendance levels. A complete list of the answers is presented in Appendix 5.

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Q8: Do you attend VYSO performances that your child/relative/friends/student is not a part of?

Attends VYSO Performance: No Child/Relative/Friend/Student Performing 100% 80% 62.5% 60% 40%

37.5%

20% 0% Yes

No

Sample Size: 104 Just under two thirds of all attendees only attend if they have a child, relative, friend or student performing.

This shows that the VYSO is not very successful at attracting the general public to performances. Different factors must be addressed in order to see what would motivate people to attend.

Crosstab 3: Support the VYSO/Performance Enjoyment and No Affiliation (Q7-5,Q7-8xQ8 It was indicated that parents are not likely to support the VYSO especially when their child is not performing at a concert. Also, it was shown that parents are not likely to enjoy a performance if their child/relative/ friend/student is not playing within the orchestra. Therefore, it is paramount for the audience members to have a relationship with someone within the performing orchestra to motivate them to attend and to enjoy the concerts.

Q9: Please explain why you do not attend other VYSO concerts It is worth noting that the "Other" category was mentioned by 54 respondents. A complete list of the answers is presented in Appendix 5.

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Q10: Who do you typically attend VYSO performances with? Check all that apply

Attendance with Guests 50% 50% 39%

40%

33% 28%

30% 20% 10%

3%

0% By myself

Partner/Spouse

Family

Friends

Social Group

Sample Size: 126 The majority of respondents attend performances with a partner/spouse (50%). This could suggest that most people who attend are parents of performers. It is worth noting that the other category was mentioned by 6 respondents. A complete list of answers is presented in Appendix 5.

Q11: Please complete the following statements?

Encourages others to Attend

Friends/Family Attends 50%

50% 40%

38.5%

40%

38.7% 31.5%

30%

21.5%

30% 17.7%

20% 10%

4.0%

0%

Sample Size: 130

8.1%

20%

13.8% 12.3%

13.8%

10% 0%

Sample Size: 124

The results show that over 35% of respondents sometimes encourage their friends, family or others to attend concerts. Encouraging others to attend performances is a good way of increasing audience numbers

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in concerts. It is best if those who receive newsletters, emails, or other types of communications with the VYSO encourage others to always attend.

Average Encouragement and Guest Bringing How often they bring friends/family

3.1

How often they encourage others

3.5 1.0

2.0

3.0

4.0

5.0

Sample Size: 124-13 Rating Scale: 1=Never, 2=Rarely, 3=Sometimes, 4=Often, 5=Always More often than not it seems that respondents would encourage people who are not within the family to attend concerts more than those who are within the family. This could be because the entire family (those who live under one roof) is already exposed to the VYSO messaging or advertising.

Barriers Q12: What factors might prevent you from attending the VYSO concert? Check all that apply

Barriers for Attending Performances: 100% 80%

69%

60% 40% 20%

18%

16%

20%

26% 13%

14%

0%

Sample Size: 142

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The main barrier for attending performances is time restraints (69%). The next largest barrier is that they have no children in the orchestra to motivate them to attend (26%).

Three people quoted time constraints as the reason for not attending concerts regularly, which is an understandable challenge to VYSO. However, one quoted overlapping Jewish holidays, which is perhaps an issue VYSO should take cognizance of in future event planning as far as possible. Cost was quoted in one instance, which may warrant further investigation, as concerts are free. Too many venues was also quoted, so this should be cross referenced with the venue preferences listed in the survey, to see if perhaps the list of venues should be prioritized and reduced.

Satisfaction Q13: Please indicate your level of satisfaction with the following aspects of VYSO

Genre of Music

Musical Performance 100%

100%

80% 56%

60% 28%

40% 20%

4%

0%

Sample Size: 141

1%

11%

80% 54%

60% 28%

40% 20%

4%

15%

0%

Sample Size: 141

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Performance Schedule

Communication About Concerts

100% 100%

80% 60% 33%

40% 20%

43%

22% 2%

1%

80% 60% 40% 20%

3%

29%

38%

4%

0%

0%

Sample Size: 141

Sample Size: 141

Other Communication

Organization and Planning

100%

100%

80%

80%

60% 24%

40% 20%

26%

3%

0%

Sample Size: 29

7%

28%

38%

48%

60% 40%

21%

31%

20% 0%

Sample Size: 29

29

Tuition/Membership Fees

Volunteer Hours

100%

100%

80%

80%

60% 40% 20%

34%

34% 10%

0%

Sample Size: 29

21%

60%

41%

40% 20%

21% 3%

31%

3%

0%

Sample Size: 29

Over 50% of participants are very satisfied with the musical performance and the genre of music, and when added to the “Satisfied” group, averages well over 80%, so VYSO have no major concerns in this regard.

Three of four respondents are satisfied with the performance schedule, as they usually occur on the weekends at convenient times for people. Less than 10% are dissatisfied with the communications from VYSO, but a large amount of “neutral” respondents needs to be addressed, as they may simply not be receiving communication.

Organization and planning of the performances and rehearsals from VSYO are done well as 48% are very satisfied with it, 38% are satisfied, and zero responded as dissatisfied. However, parents feel neutral about the tuition and volunteer hours as this takes time away from other priorities they may have. However these groups reported very low levels of dissatisfaction, so this may be a point that needs simple examination.

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Satisfaction with VYSO Aspects Volunteer hours

3.7

Tuition and membership fees

3.8

Other communication

3.9

Communication about concerts

4.0

Performance schedule

4.1

Organization and planning

4.3

Genre of music

4.3

Musical performance

4.3 1.0

2.0

3.0

4.0

5.0

Sample Size Range: 29-141 Rating Scale: 1=Very Dissatisfied, 2=Somewhat Dissatisfied, 3=Neutral, 4=Somewhat Satisfied, 5= Very Satisfied

All the respondents were somewhat satisfied with the performance, genre of music, performance schedule, and the communication about concerts. While 29 respondents were somewhat satisfied with the organization and other communication, and the tuition and fees

Performance Format Q14: What time of day would you prefer to attend a VYSO performance? Check all that apply

Performance Times 100% 80%

65% 52%

60% 40%

22%

16%

20% 0%

Weekday Evenings

Weekend Days

Weekend Evenings

Holidays

Sample Size: 141

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Weekend evenings are the understandably preferred time for concerts but not by much. Only 13% less would prefer daytime shows on weekends, so this should be investigated, especially since these are not cumulative percentages; those who chose evenings would also be open to daytime performances, so VYSO may attract more people or appeal to current attendees more by considering daytime performances. While holidays are not preferred, performances during the week should be avoided at all costs.

Crosstab 4: City and Time of Performances (Q14-2,Q14-4xQ35) There is a correlation between the cities where the respondents live and when they can attend performances.

Of the participants living in West Vancouver, 100% prefer not to attend concerts during weekend days.

However, of those living in Vancouver, 80% prefer to attend concerts during weekend days. We can assume that residents of four out of the six cities would prefer to attend weekend day performances due to schedule constraints. Also it can be assumed that they have more free time on weekend days than any other time of the week. There is an association between the residents’ city and if they attend VYSO concerts during holidays. While 60% of respondents live in West Vancouver would attend VYSO concerts held during the holidays, the rest of the respondents from other cities did not.

Crosstab 5: Age and Weekday Concerts To bolster research from above, further analysis was conducted to see if age formed a significant factor in whether or not weeknight concerts were preferred. This was also done to ascertain if perhaps parents or grandparents (or both) had the biggest objections to these schedules.

Supports Weeknight Performances 100% 80%

8% 25%

15% 40%

60% 100% 40%

100%

92%

75%

Yes 85%

No 60%

20% 0% Under 19

0% 19-24

0% 25-29

30-44

45-64

65 and over

Sample Size: 138 As expected, those in the age bracket of 30 to 44 strongly rejected the idea of weeknight shows, most likely due to work pressures. The older bracket of 45 to 64 were slightly more receptive, but still recorded only a

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15% support for the idea. While a noticeable change is seen above 65, only 5 of the 138 respondents (3.6%) fell into this group. All data for groups younger than 30 should also be disregarded, as they summarily accounted for only 4.3% of the respondents.

Crosstab 6: Ethnicities and Weeknight Schedules One of the important factors VYSO should consider is when (time and week period) they schedule their shows. Often these boundaries exist along ethnic lines and work cultures, and given VYSO’s large Asian base, this was used as a point of reference to see whether or not weeknight show should be pursued. The data is revealed below:

Weeknight Concerts and Ethnicity 100% 100%

92%

90% 80%

73%

70% 60% Support

50%

Don’t Support

40% 30%

27%

20% 8%

10%

0%

0% White/Caucasian

Asian

South-East Asian

Sample Size: 125 As was expected, a low portion of people supported the idea of weeknight concerts; 73% of whites did not support the idea, and an overwhelming 92% of Asian respondents said they would not support it. This is supported in cross tabulated data showing that of all those not supporting it, two thirds came from Asians, and the balance from whites, with two additional votes against it from the South-East Asian respondents.

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Q15: How do you feel about themed performances (e.g. All Beethoven, Movie scores, etc.)?

Feelings Towards Themed Performances 47%

50%

43%

40% 30% 20% 7%

10%

4%

0% They are my favourite

I enjoy them

No preference

I don’t think there should be themed performances

Sample Size: 141 None of the respondents answered, "I don't like them" regarding themed concerts. 47% of respondents enjoy themed performances, but an almost-matching 43% feel neutral, so there is no large sway towards support for them overall. A negligible 4% don't think there should be themed performances. Themed performance schedules should be examined and probably maintained, but also warrant further analysis.

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Q16: Which themed performances would you prefer? Check all that apply?

Preferred Themes 100% 80% 60%

59%

40% 20%

63% 51% 34%

25%

43%

10%

0%

Sample Size: 126 63% of participants would like to see themed performances that are composer specific, while 59% and 51% would like to see Christmas/ Seasonal performances. This indicates that people are willing to attend shows more that have an agenda to them; different form of entertainment.

Themed performances are regarded as generally a good idea by most respondents. Many good suggestions were made, showing a genuine interest and reason to investigate this option further. It is important to note that the respondents viewed themed shows as positive mainly so that the students could gain exposure and experience across a broad genre of music and styles, not just because they want to hear new music. This shows that the parents/respondents are interested more in the students’ skills and musical curriculum rather than playing popular or themed pieces.

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Q17: Please rate how much you would prefer the following concert options

Partnership with Types of Performance Groups 50% 36.2% 29.1%

30%

40% 25.5%

20%

30%

27.0%

22.7%

20% 2.8%

6.4%

10%

0%

0.7%

4.3%

0%

Sample Size: 141

Sample Size: 141

Guest Musician Partnership 50%

39.7%

40% 27.0%

30%

Other VYSO Level Partnership 50%

29.1%

41.1%

40%

27.7%

30%

20% 10%

45.4%

50%

40%

10%

Partner with Other Classical Orchestras

20.6%

20% 0.7%

0%

Sample Size: 141

3.5%

10%

4.3% 6.4%

0%

Sample Size: 141

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Annual VYSO Gala

Social Before the Concert 50%

50%

40%

36.2% 36.9%

40%

27.0%

30%

30%

21.3%

20%

15.6%

20% 10%

42.6%

9.9%

10%

1.4%

2.8%

6.4%

0%

0%

Sample Size: 141

Sample Size: 141

Performances with Only my Child's Orchestra 50%

39.7%

40%

26.2%

30% 20% 10%

21.3%

11.3% 1.4%

0%

Sample Size: 141

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Average Preference of Concert Formats Social before the concert (drinks & food)

3.1

Performances with only my child's orchestra

3.5

Annual VYSO Gala

3.6

Joint concert with other VYSO orchestras

3.7

Partnership with other types of performance groups‌

3.8

Guest musicians

3.9

Partnership with other classical orchestras

3.9 1.0

2.0

3.0

4.0

5.0

Sample Size: 141 Rating Scale: 1=Definitely Don't Prefer, 2=Don't Prefer, 3=Neutral, 4=Prefer, 5=Prefer Very Much

On average 3.9 people would like to have guest musicians attend and 3.9 also prefer to have partnerships with other classical orchestras. 3.8 people on average would like to partner with other performance groups while 3.6 and 3.7 of people would like to see Annual VYSO galas and Joint VYSO concerts at different levels.

3.1 people would like to have social meet and greets before these concerts are held.

Crosstab 7: Genre of Music/Performance Quality and Age (Q12-1,Q12-5xQ36) Results indicate that the dominate age that comes across barriers are between 30 to 64 years old.

Transportation is a problem especially for the baby boomers who are aged 45 to 64. The genre of music may be a problem, especially for the 45 to 64 year olds. Performance quality is also an issue. These barriers could lead to the problem of fewer attendances seen by this group.

Crosstab 8: Satisfaction of Musical Performance and Gender (Q37xQ13) There is an association between gender and satisfaction of musical performance. The majority of the females was more satisfied than males with the musical performances, and expressed that they were very satisfied (62%). This is due to more females participating in the survey and being involved than males.

Crosstab 9: Satisfaction of Musical Performance and Age (Q36xQ13) Over 60% of the respondents are between ages 45-64 however; the majority of attendees who are satisfied with this music genre are between the ages of 30-64. It can be assumed that the VYSO should cater to this age group who enjoy classical music.

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Crosstab 10: Ethnicities and Christmas Concert (Q16-1xQ39-1) Themed concerts were noted as a major draw card. However, concern existed around whether or not any specific ethnicity avoided or preferred particular themes. No significant data was shown, except for the notable data below:

Christmas Theme and Ethnicity 100% 100% 80%

68% 59%

60%

Support

41% 40%

32%

Don't Support

20% 0% 0% White/Caucasian

Asian

South-East Asian

Sample Size: 113 Overall, 59% of respondents said that they enjoyed the Christmas themed show. Interestingly, 68% of Asian ethnicity said they enjoyed it, while a much lower 41% of whites said they enjoyed it. Only 2 of South-East Asian descent responded, both positively. This shows that if any cultural concerns exist regarding the Christmas concert and the Asian community, these are likely not valid.

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Venues Q18: How likely are you to attend a VYSO performance if it was held at the following venues?

Likelihood of Attending Lansdowne Centre

Likelihood of Attending The Chan Centre

100%

100%

80%

80%

60%

60%

40%

22.2% 23.0% 22.2%

20%

40% 14.8% 17.8%

0%

20%

23.9% 13.8%

5.1%

4.3%

0%

Sample Size: 135

Sample Size: 138

Likelihood of Attending Nikkei Heritage Museum

Likelihood of Attending Michael J. Fox Theatre

100%

100%

80%

80%

60%

60%

40% 20%

52.9%

15.3% 19.0%

0%

Sample Size: 137

26.3% 24.1%

40% 15.3%

20%

7.9%

13.7%

20.9%

30.2% 27.3%

0%

Sample Size: 139

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Likelihood of Attending Orpheum Theatre

Likelihood of Attending UBC Old Auditorium

100%

100%

80%

80%

60%

42.9% 32.1%

40% 20%

17.9% 3.6%

60%

20%

3.6%

0%

5.2%

8.9%

0%

Sample Size: 140

Sample Size: 135

Likelihood of Attending Kay Meek Centre

Likelihood of Attending Capilano University

100%

100%

80%

80%

60%

60%

40% 20%

32.6% 25.2% 28.1%

40%

16.4%

0%

Sample Size: 134

24.6% 25.4%

40% 16.4% 17.2%

20%

19.7% 21.2% 22.6% 19.0% 17.5%

0%

Sample Size: 137

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Average Likelihood of Attending Venues Lansdowne Center

2.8

Kay Meek Centre

2.9

Capilano University

2.9

Nikkei Heritage Museum

3.1

Michael J. Fox Theatre

3.6

UBC Old Auditorium

3.7

Orpheum Theatre

4.1

The Chan Centre

4.2 1

2

3

4

5

Sample Size Range: 135-140 Rating Scale: Very Unlikely, Somewhat Unlikely, Neutral, Somewhat Likely, Very Likely.

On average, respondents are very likely to attend VYSO performances at The Chan Centre, or the Orpheum Theatre. Respondents are unlikely to attend performances at Lansdowne Centre, Kay Meek Centre, and at Capilano University.

Q19: I would like to see the VYSO perform more at‌ (Check all that apply)

Preferred Venue Types 100% 80%

77%

60% 40%

51%

54%

Cultural Festivals

Community Events

46%

30% 20%

20% 0% Traditional Venues

Outdoor

Mall

Charity Fundraisers

Sample Size: 142

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Respondents were able to check all that apply. Most respondents (77%) favored traditional performance venues, although many would also like to see VYSO performances at community events (54%) and cultural festivals (51%).

Other suggestions that participants of the survey had were to have collaboration with the Vancouver Symphony Orchestra, and perform in places such as the Gateway Theatre in Richmond and Whistler.

Crosstab 11: Specific Venues and City (Q18-1,4,6,7,8xQ35) It was found that location of residence did have an effect on the likeliness of the respondents future attendance at certain performance venues. 40% of those living in West Vancouver and half of those living in Richmond, felt neutral on whther or not they would attend performances at the National Nikkei Heritage Museum. 33% of those in North Vancouver and 26% of those living in Vancouver, are somewhat likely to attend performances at this venue. Also, most of those living in Burnaby and Coquitlam expressed that they were very likely to attend Nikkei Museum performances (47% and 60%, respectively).

Most of those living in every survey city expressed that they were very likely to attend performances at The Chan Centre. 60% of West Vancouverites and 63% of Vancouverites were the largest group of respondents likely to attend performances at this venue. Of those living in North Vancouver, Coquitlam and Richmond, 40% are likely to attend in the future, along with almost half of those living in Burnaby.

Location played a larger role in differentiating those likely to attend performances at the Kay Meek Centre. Of those living in West Vancouver, North Vancouver and Coquitlam, 60%, 47% and 40% (respectively), indicated that they were very likely to attend these performances. However, those living in Burnaby suggested they were somewhat unlikely to attend the Kay Meek Centre (47%). Vancouverites and Richmond- ers felt somewhat unlikely or neutral about attending in the future (26% and 36%, for both somewhat unlikely and neutral, respectively).

Of those living in West Vancouver and North Vancouver, 40% and 56% (respectively) are very likely to attend performances at Capilano University in the future. 60% of those living in Coquitlam felt somewhat likely to attend. Whereas 35% of those in Burnaby and 36% of those in Richmond felt somewhat unlikely to attend performances at this venue, and one quarter of Vancouverites felt very unlikely to attend.

In general, respondents felt unlikely to attend performances at Lansdowne centre. The segment most unlikely to attend was Coquitlam (40%), followed by West Vancouer (40%), North Vancouver (63%) and Burnaby (29%). West Vancouver and Vancouverites also felt neutral on the venue. Among Richmond residents, however, 44% said they were very likely to attend these performances.

Crosstab 12: Venue Choice/Genre of Music and Ethnicity (Q12-3,Q12-5xQ39) While the majority of respondents are Asian, 83% do not think venue choice is a barrier. While there were only 2 South-East Asian respondents who took part in the survey, 100% said there are too many choices for venues. It can be assumed that South-East Asians are more on a time constraint to be able to attend all the

43

listed venues. The second largest ethnicity (White/Caucasian) was also satisfied with the genre of music. It can be assumed there are no barriers for the genre of music and ethnicity.

Communication Q20: In general, how do you find out about the live performances? Check all that apply

Communication Methods and Awareness 100% 80% 60% 40%

41%

33%

28%

20%

19% 6%

13%

18%

40%

50% 33%

26%

0%

Sample Size: 141 Half of all respondents said that word-of-mouth was one way they had heard about concerts. Advertising in local papers was the second most successful communication method at 41%, followed closely by online announcements at 40%. This shows that people do frequent the Internet and likely the VYSO website to learn about performances. VYSO puts a lot of emphasis on its newsletters, but these are only used by a third of respondents to learn of new performances. Social media is an easy way to learn and share, but only a quarter of respondents relied on this method; this is a potential opportunity that will be easy to capitalize on. Mass media messaging in TV, radio and magazines are largely unsuccessful, but also rarely utilized by VYSO. The respondents with "other" awareness experiences fell largely into the "email" category, which should have been a selectable option in Q20. Other responses fell mostly into given options e.g. "Georgia Straight" = Local news, "board", "music teacher", "students" and "from my daughter" could be word-of-mouth, and the newsletter is quoted twice. Therefore some of this data reinforces or skews data in Q20, but not by much. In fact, by focusing on "word-of-mouth", the most common choice, we can add 4 counts to the current count of 71 to 75, moving its preference from 50% to an even higher 53%. The newsletter also gains 3 counts and a 2% popularity increase. Overall, only 10 notes were provided, and none of them stand out as major opportunities to improve communications, besides the omission of an "Email" option in future surveys there exists the potential that excluding this option may have skewed data toward other options, and this should be considered.

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Q21: Please specify the type of communication that you regularly receive or seek from VYSO. Check all that apply

Recieved Communications 100%

85%

80% 60%

47% 36%

40% 20%

14%

11%

5%

3%

0% Nothing

Newsletter

Email

Phone Calls

VYSO Website

VYSO Blog VYSO Office Visits

Sample Size: 141 NOTE: This question is noted as double-barreled, as it does not clearly distinguish between what is “received” and what respondents “seek”. The analysis therefore assumes the answer refers to what information is currently received, and not which they seek, as this is deemed more likely, but not irrefutable.

Over 85% of the participants indicated they use email for communication to the VYSO. The VYSO should take this in to consideration and improve their emails to be more informative and frequent. These emails should be sent diligently with new updates with what’s going on within the VYSO. The respondents with "other" awareness experiences fell largely into the "email" category, which should have been a selectable option in Q20. Other responses fell mostly into given options e.g. "Georgia Straight" = Local news, "board", "music teacher", "students" and "from my daughter" could be word-of-mouth, and the newsletter is quoted twice. Therefore some of this data reinforces or skews data in Q20, but not by much. In fact, by focusing on "word-of-mouth", the most common choice, we can add 4 counts to the current count of 71 to 75, moving its preference from 50% to an even higher 53%. The newsletter also gains 3 counts and a 2% popularity increase. Overall, only 10 notes were provided, and none of them stand out as major opportunities to improve communications, besides the omission of an "Email" option in future surveys there exists the potential that excluding this option may have skewed data toward other options, and this should be considered.

Crosstab 13: Email/Newsletter From VYSO and Age (Q24-3,Q24-4xQ36) The majority of the survey respondents were aged over 30, therefore there is a large correlation to age, and general preference or strong preference of receiving email communications from the VYSO. 59% of those

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aged 30-44 years old, strongly prefer email communications, and 56% of those aged 45-64 prefer recieving email communication over other methods of communication. 80% of those over 60 years old, prefer or strongly prefer email communications, as well as respondents under 19 years old strongly prefer email communication (75%). There were few respondents aged 19-29, however it was found that they generally don't prefer email communications. Newsletters, as a form of communication, followed very similar prefernce levels as email, however there were more neutral feelings among the 30-over 60 age groups. The majority of over 60 year olds (60%) felt neutral about receiving VYSO newsletters.

Crosstab 14: Receive Newsletter Preference and Attendance In Past Year (Q24-4xQ5) This graph shows the correlation between concert attendance in the past year with preferring to receive the VYSO newsletter. It clearly shows that the more people like to receive the newsletter the more frequently they attend concerts. The respondents that strongly prefer to receive the newsletter go to concerts 4-5 times throughout the year. Also the were a large number of respondents that strongly prefer to receive the newsletter that go to concerts over 6 times a year. Respondents that either definitely don't prefer, don't refer and are neutral haven't been to a concert in the past year but have been previously. We can assume that the more people that receive and read the newsletter are more likely to attend concerts.

Q22: How aware are you of upcoming VYSO performances?

Awareness of Upcoming Performances 100% 80% 53.9%

60%

36.9%

40% 20%

9.2%

0% Very Aware

Somewhat Aware

Not Aware

Sample Size: 141 The majority of respondents (90.8%) were either very aware, or somewhat aware of upcoming performances. The reason being is that most of these respondents are family or friends who receive come aware of upcoming VYSO performances through word-of-mouth or through newsletters.

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Crosstab 15: Local Newspaper/Newsletter and Awareness of Performances (Q20-2,Q20-9xQ22) Of those who expressed that they were very aware of upcoming VYSO performances, half responded that they find out about live performances through local newspapers, and the other half did not. The majority of those who were somewhat aware ofVYSO performances and those who did not feel aware did not check local newspapers as a method they use to educate themselves (65% and 85%, respectively), meaning this channel would probably not inform them in the future either.

The majority of respondends who were very aware, somewhat aware and not aware of upcoming VYSO performances, did not specify newsletters as a way they receive information about upcoming live performances (64%, 63%, 100%, respectively). It is not unusual that every respondent who was not aware of upcoming VYSO performances, did not read newsletters to educate them about performances, and wouldn't in the future.

Q23: Please complete the following statements:

Shares/Forwards the VYSO newsletter 50% 40%

33.3%

30% 18.2%

20%

22.7% 10.6%

15.2%

10% 0% Never

Rarely

Sometimes

Often

Always

Sample Size: 66 33.3% of respondents said they never share the VYSO newsletter. Over 40% said that they rarely or sometimes share the newsletter. The remaining said they often or always share the newsletter. The majority of respondents said that they read the VYSO newsletter, but only a quarter will share or forward it on to others, and over half say that this is a rare occurrence or never done at all. This should be looked at as a possible opportunity to grow readership. No respondents said that they never read the newsletter at all, which shows that the newsletter usually enjoys good readership among recipients; however, it is likely that this data is skewed by people not wanting to admit that they ignore the VYSO newsletter.

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Communication Behavior Share/forward the VYSO newsletter

2.6

Read the VYSO newsletter

4.6 1.0

2.0

3.0

4.0

5.0

Sample Size: 66 Rating Scale: 1=Never, 2=Rarely, 3=Sometimes, 4=Often, 5=Always

The results shows that almost all the respondents read the newsletter always but only sometimes share the newsletter with family and/or friends. In order for the VYSO to increase their attendance, it would be a good idea to get recipients get forward or share the VYSO newsletters to generate awareness and build a loyal following.

Q24: How do you prefer to receive communication about upcoming VYSO performances or events?

Preference: Telephone Calls

Preference: VYSO Tweets

100%

100%

80%

80%

40%

30.5%

20% 0%

Sample Size: 141

40%

22.7% 3.5% 0.7%

20.6%

20%

31.2%

36.9% 8.5%

2.8%

0%

Sample Size: 141

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Preference : VYSO Facebook

Preference: VYSO Blog

100%

100%

80%

80%

60% 40% 20%

17.0% 22.0%

40% 16.3%

7.1%

0%

20%

12.1%

20.6%

11.3%

4.3%

0%

Sample Size: 141

Sample Size: 141

Preference: VYSO Newsletter

Preference: Email from VYSO

100%

100%

80% 60%

80% 60%

29.1% 26.2% 36.2%

40% 20%

51.8%

60% 37.6%

2.1% 6.4%

0%

Sample Size: 141

55.3% 32.6%

40% 20%

1.4% 3.5% 7.1%

0%

Sample Size: 141

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Preference: VYSO Website

Preference: Brochures, Racks

100%

100%

80% 60% 40% 20%

80%

46.8% 21.3%

60% 24.8%

40% 20%

2.1% 5.0%

0%

24.1%

35.5%

9.2%

22.7% 8.5%

0%

Sample Size: 141

Sample Size: 141

Average Communication Preferences Telephone Call

2.0

VYSO Twitter

2.4

VYSO Facebook

2.7

VYSO Blog

2.8

Brochure or rack card

3.0

Local Newspaper

3.0

VYSO Website

3.9

VYSO Newsletter

3.9

Email from VYSO

4.4 1.0

2.0

3.0

4.0

5.0

Sample Size: 141 Rating Scale: 1=Definitely Don't Prefer, 2=Don't Prefer, 3=Neutral, 4=Prefer, 5=Strongly Prefer

The results show that the most preferred methods of communications are the website, newsletter and emails from the VYSO. These seem to be all their traditional methods of communication which is great.

However, it would be a great idea to do more advertising to build more awareness. For instance, increasing the messaging through social media or their website blog would be a good idea.

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Q25: Any other comments about how you prefer to receive communications from the VYSO? The main ideas expressed regarding further communications about upcoming events from the VYSO were radio announcements, local news announcements, or a list of upcoming events given to the students at the beginning of the season by teachers.

Q26: Please indicate your opinion on the following statements

The VYSO should do more to promote concerts

Parents should promote concerts with materials

100%

100%

80%

80%

60%

38%

35%

40% 20%

60% 23%

3%

20%

0%

3%

35%

11%

16%

0%

Sample Size: 141

Sample Size: 141

The VYSO should educate parents to appreciate music

The VYSO concerts should play different music genres

100%

100%

80%

80%

60%

37%

40% 20%

35%

40%

4%

0%

Sample Size: 141

11%

60%

32% 16%

40% 27%

40% 20%

8%

15%

10%

0%

Sample Size: 141

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There should be more VYSO concerts 100% 80%

50%

60% 40% 20%

18% 4%

21% 7%

0%

Sample Size: 141 Results indicate that the over 35% of respondents feel neutral or somewhat agree that the VYSO should do more to promote concerts, educate parents on concerts by giving supporting material, and should play different music at VYSO concerts. These results show that parents do feel that there needs to be a slight improvement within these avenues. In addition, 50% of respondents feel neutral about there being more VYSO concerts; therefore, the number of concerts should be maintained.

Average Opinions There should be more VYSO concerts

3.1

The VYSO concerts should play different…

3.2

The VYSO should educate parents more to…

3.5

The parents should be given materials to…

3.5

The VYSO should do more to promote concerts

3.8 1.0

2.0

3.0

4.0

5.0

Sample Size: 141 Participants somewhat agree that the VYSO should do more to promote their concerts, educate parents to appreciate the music, and VYSO should give more material for the parents to promote the concerts. Also, participants feel neutral in where VYSO concerts should be held and what sort of music genres the VYSO should play.

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Q27: If VYSO wished to attract a new audience outside the families, who - in your opinion - would be a good target audience?

58 responses were received, identifying many potential target segments. The most common recommendation was elementary school students, followed by non-VYSO music students, and school music program students and teachers. Another larger number of responses identified senior citizens. Suggestions in order of precedence are as follows.

• • • • • • • • •

School Students (classmates of current students, high school and elementary students Music students (non-VYSO, private schools and/or private lesson students) Seniors Family and friends Potential musical performers (prospective students’ parents) Community Centre/ public venue crowds Local communities around performance venues Regular attendees of the ballet, VSO and opera New immigrants and tourists

Tickets Q28: If you had to purchase tickets to each VYSO concert, what do you think a reasonable price range per person would be?

Preferred Ticket Price Range per Person 50% 40%

33%

30% 19% 20%

19%

14%

13%

10% 1% 0% $1-$5

$6-$10

$11-$15

$16-$20

$21-$25

Prefer by donation

Sample Size: 141

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52% of respondents believe that tickets should be priced between $6 to $15 per ticket while 19% would prefer concert admission to be based on donations Other suggestions for ticket prices were skewed towards depending on factors such as VYSO's budget, concert locale, and level of orchestra.

Q29: If VYSO introduced season tickets which one of the following options would you be most interested in:

Preferred Season Ticket Packages 50% 40% 30.5% 30%

25.5%

24.1%

20% 10%

6.4%

5.7% 1.4%

3.5%

2.8%

A mix and ALL 13 I am not match set of season VYSO interested in 4 VYSO concerts season tickets concerts

Other

0% 4 Senior 4 4 Junior orchestra Intermediate orchestra concerts orchestra concerts concerts

4 Debut orchestra concerts

Sample Size: 141 If season tickets were introduced, the majority of buyers would prefer senior tickets, or a mix of various concerts. Debut concerts were unpopular, with only 2 votes out of 141 respondents. This data should be cross referenced to how many respondents have children in this senior level, as the natural assumption is that their preference stems from this being true. This is reinforced by information given in the "Other" responses, where a preference is shown for tickets to shows that their children are performing in i.e. their particular orchestra level. One noted opinion is that hesitance to buying season ticket exists as they feel they may not be able to attend all the performances they buy tickets for - this is echoed in survey data giving reasons for not being able to attend e.g. time constraints, time and venue preferences. Moreover, over 30% simply believe season tickets are not appealing.

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Q30: For the season ticket option you specified above, what do you think would be a reasonable price range?

Preferred Season Ticket Price Range 50% 37%

40% 27%

30%

19%

20%

11% 10%

2%

1%

2%

1%

Not interested in season tickets

Other

0% $0

Under $25 $25-$50

$51-$75

$76-$100 Over $100

Sample Size: 94 Most respondents (37%) felt that $25-50 was a reasonable price for season tickets. Next to that, 27% felt they would be willing to pay under $25 for season tickets.

Q31: If VYSO implemented season tickets, please indicate how you feel about the following:

Season Ticket Effect on Attendance 100% 80%

66.0%

60% 29.1%

40% 20%

5.0%

0% I would probably attend I don't think it would affect more often to get the value my attendance of the tickets

Other

Sample Size: 141

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It is interesting to note that two thirds of respondents state that if season tickets were introduced, it would not affect their attendance regularity. This needs to be cross referenced with this group's current attending habits, as they may be committed, or continuously absent guests at performances, signifying potentially polarized motivations and reasoning. It is surprising to note that almost 30% said that season tickets would motivate higher attendance, so this may need careful consideration, especially considering other data suggesting that when proceeds go towards charities, people are also motivated to attend. Those who selected "other" swayed heavily from negative perceptions to no impact whatsoever.

Crosstab 16: Season Ticket Price Range and Preferred Type of Season Tickets (Q30xQ29) This crosstab shows the analysis between preferred season ticket price range and the preferred type of seasons tickets. The graph shows that the higher the price range the more tickets respondents expect to receive. Overall the highest category was the $25-$50 and in that price range respondents would like to receive 4 Intermediate orchestra concerts. Very few respondents would pay over $76 for season tickets.

With this question we can assume that respondents would like to see their own child/family/friend and chose that category.

Q32: Please indicate how likely you are to:

Likely to attend a VYSO concert in next year 100% 80% 57%

60% 40% 20%

21% 6%

8%

9%

Very Unlikely

Somewhat Unlikely

Neutral

0% Somewhat Likely

Very Likely

Sample Size: 141

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Likely to attend a VYSO concert after your child/relative/family.friend/student leaves 100% 80% 60% 40% 20%

28%

22%

15%

24% 11%

0% Very Unlikely

Somewhat Unlikely

Neutral

Somewhat Likely

Very Likely

Sample Size: 104

Average Likeliness of Attendance Likely to attend a VYSO concert after your child/relative/familyfriend/student leaves

2.9

Likely to attend a VYSO concert in the next year

4.2

1.0

2.0

3.0

4.0

5.0

Sample Size: 104-141 Rating Scale: 1=Very Unlikely, 2=Somewhat Unlikely, 3=Neutral, 4=Somewhat Likely, 5=Very Likely Q33: What would motivate you to keep attending after your child / relative / family friend / student has left VYSO? 37 responses were received. 6 people recommended high profile guest performances as a way to attract them back to the VYSO, and the same number suggested that if a high quality show was put together, they would be inclined to attend. An interesting idea was the VYSO performing the score for a play, which is an interesting idea worth considering. Another notable mention was that if a charity concert was organized, 4 respondents would consider attending to support the cause, if worthwhile. Another 4 said they would gladly

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attend if the price and music were "guaranteed" to be enjoyable, interesting, and at a good venue. However, 10 respondents, representing 27%, said that they were unlikely to attend a VYSO concert in the future, mainly because they only really see the point of going if they have a close relation with someone playing in the VYSO. Q34: Do you have any suggestions for how to improve the VYSO? This can include ideas about the concerts, marketing of VYSO concerts, or any other suggestions you may have.

The overall sentiment towards the VYSO is favourable, with a few exceptions regarding isolated concerns, such as how bursaries are awarded. They feel that the quality of music is excellent, and that the general public is missing out by not attending. This plays into a common thread that the VYSO needs to make as much effort as possible to move away from “family-based� audiences and more general public audiences. It is suggested that more advertising and overall marketing effort be done in local newspapers, in schools, on local radio and even TV. The feeling is that VYSO should go to where the audiences are, to raise awareness, such as cultural shows, malls, public venues, or look at corporate sponsorships and charity group affiliations to bolster the general public audience.

Another suggestion is involving the children and families to promote the orchestra in their schools and places of work. Mention is made that the students’ development and diversification of talent should always remain the core focus of the VYSO, and many agreed that their learning and exposure is important. Having fun and involving out-of-the-ordinary guests to shows was also suggested.

Surrounding the issue of ticket pricing and donation, most said that keeping the concerts on a donation basis is best, but that physical ticketing may boost attendance, as it creates a feel for exclusivity and value, and allows parents to share something physical.

Limitations There were some limitations while conducting the primary and secondary research that may inherently influence the findings. Problems had arisen with the research methodology, sampling designs and data collection.

With the research methodology, the VYSO had provided a single session where answers from two board members were provided for questions from members conducting research for the VYSO. Unfortunately, due to limited time and lack of an elementary understanding of the VYSO, appropriate or fundamental questions may not have been asked at that time.

In addition, during the qualitative research, the sample design may have affected the results. It was difficult to control for sampling frame error. The sample selection for the focus group mainly comprised of participants who used that time during their participation to count towards volunteer hours for the VYSO. This may have hindered the integrity of the results since it was a non-probability sample, which may not be representative of the population.

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With the data collection, several problems were present. The sample for the focus group consisted of some participants who speak very little English or who do not speak English at all. The accuracy of the results from the focus group may not reflect what the participants had conceptual thought what was asked of them as confusion could have been present.

Also, the VSYO quantitative survey had a high rate of unresponsiveness which made it was difficult to retrieve a significant number of responds to specific questions. For instance, 29 parents answered several questions but left some other questions blank. Several questions within the VYSO survey poorly worded or may have created some confusion with the respondents as only 19 parents actually responded to question 2. Another question that must be noted is question 21. This question asks a double barrel question; therefore, running a cross-tabulation would be insignificant and would not produce sound results.

To overcome these limitations, several things need to be addressed. A better communication method between research groups and the VYSO may have improved the research methodology as it could have improved the secondary research findings or with the internal analysis.

Unfortunately it is quite difficult to control for the sampling frame error. To improve the errors and to combat the fact that a non-probability sample was used, the best case would be to run several focus groups to find a common theme which would be representative of the population.

To overcome language barriers, finding researchers who are able to translate and communicate in the same language as the participants with the focus group could alleviate any sort of confusion or refusals in answering the focus group questions.

For the VSYO quantitative survey questions needed to be designed or routed properly and also needed to be worded properly.

Conclusions Secondary Secondary research assisted in defining the research problem of how to increase audience size. It identified competitors marketing efforts, opportunities for improvement, and areas of internal strength and weakness.

The research methodology and outcomes met the secondary research objectives of gaining the insight and understanding of the various VYSO influences and environmental factors that should be considered during recommendations and data analysis.

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Primary Qualitative Qualitative primary research consisted of a focus group and in-depth interview, and identified current audience opinions, awareness, suggestions, attitudes and motivations to attend VYSO events. Subjective analysis of the data was collaborated with existing marketing research to gain further insight into the most influential aspects affecting VYSO’s audience members, and formulate recommendations from these.

Quantitative Quantitative research was taken from the online survey, with questions developed from the participants’ qualitative input. The survey participants have a vested interest in the success of the VYSO and provided honest, valuable feedback, which was collaborated with supporting data to reach final results used for the research analysis and subsequent recommendations.

Recommendations Based on secondary and primary research analysis, the following recommendations can be made to meet VYSO’s objectives.

Target Market Focus VYSO has an Asian base of students and concert attendees. However, they have not directly focused their marketing on this group despite the fact that they make up the majority of the visible minority within B.C. In 2006, the total visible minority population was 1,008,855 and making up 90.6% of the visual minority were from the Asian descent.

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Visible minority population in B.C. (2006 Census) Total Population

4,074,380

Total visible minority population

1,008,855

South Asian

262,290

Chinese

407,225

Black

28,315

Filipino

88,075

Latin American

28,960

Arab

8,635

Southeast Asian

40,690

West Asian

29,810

Korean

50,490

Multiple visible minority

25,415

Japanese

35,060

Visible minority, not included elsewhere

3,880

Statistics Canada, 2006

According to the VYSO student list (see Appendix 1), and once the demographic of the current target market is segmented within Vancouver, the most frequent nationality would also be Chinese. According to Statistics Canada, 407,225 individuals of Chinese descent were living in Vancouver B.C. (Statistics Canada, 2006).

Therefore, VYSO’s marketing efforts should be tailored towards the Chinese community and the other Asian communities within B.C. Suggestions made by the research groups as well as inferred by secondary research suggest the following recommendations: • • • •

Producing posters, brochures and similar print media in Mandarin or bilingual formatting Sending out individual email newsletters based on recipients’ language preferences Posting advertisements at Asian community centers, and in Asian-read publications Creating awareness through performances or advertising at Asian cultural festivals

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School Involvement The VYSO naturally enrols students who attend local schools. These schools should be identified and approached as potential ways to grow interest and attendance for performances. VYSO should investigate: • • • •

Advertising the VYSO in school newsletters and similar communications Approaching elementary and junior high school instructors/school principals to create school trips to VYSO performances Creating awareness in the schools through the VYSO members attending the schools Advertising within music schools and encourage music teachers to be advocates of the VYSO (where applicable)

Timing of Concerts The VYSO research shows that attendees prefer to go to concerts that are held on weekend afternoons and evenings. The VYSO currently hold most of their concerts during these times anyway, which was shown as satisfactory by 86% of the respondents, so this should be maintained.

Social Media VYSO makes very little effort to grow its online social media presence. Given the massive rise in social media as a preferred method and the fact that social media can be maintained without a hefty budget; the VYSO should take advantage of this. By increasing their social media usage they can increase awareness of the VYSO through different channels:

YouTube Post videos on some of the best performances of the different orchestras within the VYSO

Twitter Tweet about upcoming performances, instrument companies, tweet about students who are doing very well, etc.

Facebook Post stories and updates about performances and post pictures about past performances or rehearsals or the personal behind the VYSO.

Pricing Participants within the quantitative survey were more open to ticket pricing rather than paying by donation for performances. 33% of participants prefer to pay $6 to $10 per ticket while attending a performance. Also, it was found that parents are not opposed to the idea of season tickets. Season tickets may be charged at $25 to $50 as that was in favour by 37% of the participants of the survey.

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Therefore, the VYSO should take advantage of this fact and charge parents and other audience members a fee in order to be in attendance. This extra revenue earned can then fuel the extra effort the VSYO needs for advertising and marketing purposes. Extra revenue from ticket sales may pay for buying media space within newspapers and magazines, or even billboards along transit stations.

VYSO Newsletter Within the survey it was found that the majority of those who receive the newsletter read actually read it.

The newsletter should be posted on the website and linked to their social media channels as it generates a high readership. Relevant articles and topics should be written within the piece and call to actions could be addressed within the newsletter to engage parents and students to act when the occasion calls for it. The cross tab analysis showed interesting statistics as to how avid readers of the newsletter tend to be regular attendees at concerts.

Unfortunately, recipients do not share or forward the VYSO to their friends or family. They should take advantage of this opportunity as it could generate a huge interest with the VYSO for those who are not familiar with their operations. In addition, a ticket cut-out could be attached to the email newsletter which could resemble an actual ticket inviting guests to watch performances.

Partnership & Collaborations One of the survey questions pertain to partnerships and collaborations with performance groups. Responses shows that there is a preference for these partnerships and collaborations especially when there is a partnership with other classical orchestras or when there are joint concerts with other VYSO orchestras.

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