2021-22 Guide to Summer Camps
2022 Guide to Summer Camps, Institutes & Programs
Plan your summer of music (finally …)
November 2021
As proven by the roughly 300 individual listings in the 2022 Guide, the phrase summer "camp" no longer applies strictly to children at play, nor does "institute" imply young artists at work. You can study lied in Vienna, practice yoga in Belgium, sing your heart out in Mandarin in China, play tennis in Peoria, or learn the Taubman Method at the Golandsky Institute in California.

2021-22 Guide to Music Schools
2021 Guide to Music Schools
Pursuing musical education in the pandemic age
September 2021
Students of the arts once sought only to train to achieve artistic excellence, but now that's not enough. On the heels of the pandemic and the move to streaming, an artist must also be an audio/video producer, winning onscreen personality, social media expert, and marketing whiz.
Music schools and conservatories are attempting to meet the challenge with solutions ranging from mentoring faculty, technology, and internships and fellowships, to name a few. Pay close attention to the Guide's “Career/Post Graduate Assistance” section

2021 Guide to Festivals
2021 Guide to Summer Festivals
Looking ahead to a season of music
April 2021
Our largest Festivals Guide
Hope is in the air, vaccinations are in (many) arms, and our hardy crop of mountain, lakeside, and pastorally sited music-makers appear to be in recovery mode from a very long year. The latest Guide lists 100-plus entries, some still in the throes of program planning, others with their schedules nailed down, one or two strictly online, and most a combination of the above. We are thrilled on many levels to deliver the Guide and look forward to a summer season of music.

2021 Guide to Competitions
2021 Guide to Top Competitions
Competing in the time of COVID-19
February 2021
Details for nearly 100 top competitions
With the arrival of the vaccines, a bit of light has emerged at the end of a long tunnel for musicians and competitions. It is a testament to competition organizers that, whether postponing deadlines, changing venues, or being forced to make any number of other alterations, these competitions have persevered. Their commitment to bringing new, exceptional talent into the limelight persists, and with that, their continued nourishment and renewal of the field.

2020 Guide to Festivals
2021 Guide to Summer Camps, Institutes & Programs
Envisioning Summer 2021
November 2020
Summer 2021 holds promise: by then, having waited for COVID-19 to dissipate, artists will be hungry to perform, rehearse, teach, and/or listen to live music in a shared environment. Fortunately, there are many opportunities being planned, and our annual Guide to Summer Camps, Institutes, and Programs lists nearly 300 possibilities.

2020 Guide to Festivals
2020-21 Guide to Music Schools
Includes pandemic policies for each school
September 2020
The Guide is always a substantial undertaking, even under normal circumstances.
Needless to say, we are not in normal circumstances. Looking into what is still a very cloudy crystal ball, we have added a few practical, pandemic-caused questions this year: Will you be starting in the fall as planned? Later? Will classes shift online? Will masks be required on campus? What about testing? Will classes be smaller? Any academic changes in store? Will on-campus housing be altered? Tuition change?
Consider: a new generation of musicians who are not only learning their craft, but also developing new coping skills, learning how to go with the flow, and, perhaps most importantly, become video producers par excellence.

2020 Guide to Festivals
2020 Guide to Summer Festivals
Details for more than 100 events
April 2020
While the 2020 Guide to Summer Festivals is packed with more than 100 festivals, this Guide is also as much an expression of hope as it is of planning in this unpredictable time.
Festivals’ status and schedules are in continual flux, as you might imagine, so this Guide accurately reflects everyone’s plans for the coming season. We urge you to check with the individual events to confirm; we will be updating these pages as we receive new information.
Musical America’s 2020 Festival Guide offers a wealth of robust programming plans and we hope to see them come to fruition.

2020 Guide to Top Competitions
2020 Guide to Top Competitions
Details for more than 90 contests
February 2020
Competitions have many moving parts—application deadlines, eligibility rules, artistic disciplines, frequency, dates, fees, jury members. We've gathered and filtered them all to present the sixth Guide to Competitions, our largest yet.
In addition, each part has subtleties and iterations. For instance, jury members may be teachers and, if so, the question arises as to whether their students will be allowed to compete (always a sharp discussion point after the winners are announced).
We run all those disparate elements through our filter to make the result as useful as possible. We hope it’s helpful, both to aspiring talent and to those trying to find the bright future stars.

MA Top 30 Professionals of the Year: Movers & Shakers of the Performing Arts
The MA 30 Professionals of the Year:
The Movers & Shakers of the Performing Arts
December 2019
We polled the worldwide performing arts industry:
Who keeps the performing arts relevant?
This year's Top 30 are wonderfully diverse, ranging from artist managers to publicists, teachers, operations chiefs, impresarios and record producers.
We ask the industry each fall for the folks who deserve major kudos for all they have done and are doing to keep the performing arts vibrant. Join us in saluting the 2019 Musical America Professionals of the Year.
Read the articles below or
Eduardo Gabriel Álvarez Ortega, Director General and Conductor, Acapulco Philharmonic Orchestra Stephanie Arrigotti, Producer/Director, Western Nevada Musical Theater Company
Patricia Barretto, President & CEO, Harris Theater for Music & Dance Stephen Marc Beaudoin, Executive Director, The Washington Chorus
Kathleen van Bergen, CEO and President, Artis-Naples Shana Bey, Associate Orchestra Personnel Manager, Los Angeles Philharmonic
Alexander Lloyd Blake, Founder and Artistic Director, Tonality Synneve Carlino, Chief Communications Officer, Carnegie Hall
Crystal Carlson, Director of Operations, Cleveland International Piano Competition Adam Cavagnaro, President and Founder, Promethean Artists
Leslie DeShazor, Violist, Teacher Charles Dickerson, Executive Director and Conductor, Inner City Youth Orchestra of Los Angeles / South Side Chicago Youth Orchestra
Monica Felkel, Director of Artist Management, Young Concert Artists Sarah Hoover, Associate Dean for Innovation, Interdisciplinary Partnerships and Community Initiatives, The Peabody Institute of The Johns Hopkins University
Rena Kraut, Executive Director, Cuban American Youth Orchestra François Mario Labbé, President, Analekta
Marianne LaCrosse, General Manager and Education Programs Director, Music@Menlo Ashley Magnus, General Director, Chicago Opera Theater
Ahmad Mayes, Director, Education & Community Engagement, Cincinnati Symphony Orchestra Jazmín N. Morales, Manager, Center for Innovation and Community Impact, The Colburn School
Veronica Neo, COO and Co-Founder, Primephonic Andrew Ousley, Publicist and Presenter, Unison Media / Death of Classical
Gary A. Padmore, Director of Education and Community Engagement, The New York Philharmonic Melissa Smey, Associate Dean and Executive Director, Miller Theatre at Columbia University School of the Arts
Johnnia Stigall, Manager, Pre-college and Pathway Programs, Cleveland Institute of Music Caen Thomason-Redus, Senior Director of Community & Learning, Detroit Symphony Orchestra
Melissa Wegner, Executive Director, Metropolitan Opera National Council Auditions David Whitehill, Executive Director, Asheville Symphony Orchestra
Sarah Williams, New Works Administrator, Opera Philadelphia Benjamin Woodroffe, Chair, Global Foundation for Performing Artists

2020 Guide to Summer Camps, Institutes & Programs
2020 Guide to Summer Camps, Institutes & Programs
November 2019
We gathered all the important details you need to make decisions for your 2020 summer. From a villa in Tuscany to a log cabin in the Colorado Rockies, summer programs are popping up everywhere—and we have details on nearly 300 of them.
These relaxed, often bucolic settings also provide vast opportunities for networking and for just plain making new friends. Some of them offer regular camp activities, such as hiking and swimming; one program provides archery instruction along with master classes in string playing and chamber music. In virtually all cases, the chance to mix and mingle with the faculty is a given—meals are often served in a common dining room and the attire, except perhaps at those evening events, is strictly casual.
We hope you enjoy perusing your summertime music options, no matter your age, expertise, or geographical preference.

2019-20 Guide to Music Schools
2019 Guide to Music Schools
September 2019
For our largest Music Schools Guide, we culled about 60 institutions from our data base of nearly 1,200 schools. We focused on quality and reputation, and paid little attention to school size.
The result: the 2019-20 Guide runs the gamut from the Academy of Vocal Arts in Philadelphia (23 students) to the Jacobs School of Music at Indiana University (1,600 students).
While a school’s size doesn’t necessarily impact its quality, it can impact the breadth of options. Large university music programs will more likely offer, say, a double degree in trombone performance and business. However, some of the smallest schools are tuition-free, and most schools in the Guide offers some training in the music business.
For the student of the arts, it seems the field is rich in options.

2019 Guide to Festivals
2019 Guide to Festivals
April 2019
The newest Guide to Festivals covers nearly 100 festivals with everything from opera in the Swiss Alps and chamber music in a California vineyard to prepared piano at a Massachusetts modern art museum.
Such is a sampling in our sixth annual Guide to Summer Festivals. Additional highlights: the world premiere of Poul Ruders’s The Thirteenth Child at Santa Fe Opera; pianist Yuja Wang (Musical America’s 2017 Artist of the Year) performing in Croatia at the Dubrovnik Summer Festival; and Fabio Luisi conducting Beethoven’s Sixth Symphony in Tuscany, at the Chigiana International Festival. There is a rich and entertaining world of live music ahead of us.
And they say the season slows down in summer.

2019 Guide to Top Competitions
2019 Guide to Top Competitions
February 2019
This is our fifth annual Guide and it offers annotated listings of all shapes and sizes of competitions. They range from piano to voice to woodwind to all of the above; from annual to biannual to quadrennial; some include master classes; some are open to the public and include live rounds, others are by recorded submission only. But be they evolving or staying the same, competitions of any stripe remain an exciting way to discover, develop, and honor our rising artists.
We also sat with Pierre van der Westhuizen, currently in his second year as director of the Irving S. Gilmore Keyboard Festival and Awards. Westhuizen knows his way around competitions, having been the previous CEO of the Cleveland International Piano Competition, which he transformed into a world-class, multi-faceted experience.

MA Top 30 Professionals of the Year: Innovators, Independent Thinkers, and Entrepreneurs
The MA 30 Professionals of the Year:
Innovators, Independent Thinkers, and Entrepreneurs
December 2018
We asked the worldwide performing arts industry:
Who makes it all work?
These are the heroes, sung and (heretofore) unsung, of the performing arts industry. What is striking about these individuals is their passion, creativity and dedication to making the arts thrive.
These are the folks who make the industry tick, brainstorm the new ideas, get the artists on stage, help build the audiences and train the artists of tomorrow.
Read the articles below or
Bonnie Barrett, Director, Yamaha Artist Services New York Shelly Berg, Dean and Patricia L. Frost Professor of Music, Frost School of Music, University of Miami
Lorenzo Brewer, Founder and CEO, nkoda Linden Christ, Director of Education, Chicago Opera Theater
Christine Taylor Conda, Chair, Board of Directors, El Sistema USA; Director, Reach*Teach*Play® Education Programs, Ravinia Festival Joseph Conyers, Assistant Principal Bass, Philadelphia Orchestra; Executive Director, Project 440
Damien Crutcher, CEO, Crescendo Detroit Trey Devey, President, Interlochen Center for the Arts
Eric Einhorn, General and Artistic Director, On Site Opera Aiden Kim Feltkamp, Director of Emerging Composers and Diversity, American Composers Orchestra
Gabriela Lena Frank, Founder, Gabriela Lena Frank Creative Academy of Music; Composer Aloysia Friedmann, Founder/Artistic Director, Orcas Island Chamber Music Festival
Heather Gladstein, Personal Assistant, Consultant & Tour Manager James Gourlay, Music Director and CEO, River City Brass
Lacey Huszcza, Executive Director, Las Vegas Philharmonic; Former Associate Executive Director, Los Angeles Chamber Orchestra Homer Jackson, Director, Philadelphia Jazz Project
Barbara Lister-Sink, Director, School of Music and Graduate Music Program; Professor of Piano, Salem College Evan Mack, Composer, Pianist, Professor
Terrance McKnight, Evening Host, WQXR Radio Naoyuki Miura, Mari Ono, Artistic Director, Executive Director/Associate Artistic Director, Music From Japan
Amy Schwartz Moretti, Director, Robert McDuffie Center for Strings Dantes Rameau, Co-Founder and Executive Director, Atlanta Music Project
Erik Rönmark, VP and General Manager, Detroit Symphony Orchestra; Co-founder and Executive Director, New Music Detroit Clyde Scott, Director of Video Production/Resident Projection Designer, New World Symphony
Steve Shaiman, Senior Vice President, Concert Artists Guild Amanda Sweet, President, Bucklesweet
Alan Valentine, President and CEO, Nashville Symphony Abigayl Venman, Senior Director of Arts Leadership, Sphinx Organization
Julian Wachner, Director of Music and Arts, Trinity Wall Street; Composer Lecolion Washington, Executive Director, Community Music Center of Boston

2019 Guide to Summer Camps, Institutes & Programs
2019 Guide to Summer Camps, Institutes & Programs
November 2018
The largest Summer Guide yet
The 2019 Guide contains nearly 200 national and international listings. Some combine learning from the pros by day with listening to them perform by night. Others put the talent-in-training on stage and charge admission.
The programs come in all shapes and sizes. Some take place over a weekend, others last all summer. At the Salzburg Summer Music Academy, 1,000 students work with a faculty of 70; at the Bang on a Can Summer Festival, the count is 40 teachers to 11 students; at NYO Jazz, it’s 22 to 10; at Tanglewood it’s 155 to 75. Some are free, some are decidedly not.
Virtually all of the pre-professional institutes require an audition of some kind, while those for the very young steer clear of a competitive atmosphere. The listings in the Guide provide many options for musical self-improvement, with the added summertime bonuses of fun, friendship, and warm weather.

2018-19 Guide to Music Schools
2018-19 Guide to Music Schools
September 2018
The new Guide contains key information — scholarships, faculty, audition requirements, just to name a few — on 50-plus top music schools, all in an easy-to-use format.
Two trends emerge in the Guide: Schools are now offering more and deeper areas of concentration, such as in Performing Arts Health, Lied Interpretation for Pianists, or a masters degree in Contemporary Chamber Music; and schools are injecting real-world relevance in the performing arts. Examples: Office of Entrepreneurship and Career Development at the Jacobs School of Music at Indiana University and the entrepreneurship grants and start-up funding for musical projects provided by the Curtis Institute.
What do the two trends mean? Schools are fully cognizant of the need to equip students to put their years of training to work as well as to develop expertise in the performing arts. Sounds like a winning combination.

25 Stars Still Rising: 10 Years of New Artists of the Month
25 Stars Still Rising: Where are they Now?
10 Years of New Artists of the Month
June 2018
Nearly 10 years ago, Musical America launched a feature called New Artist of the Month. The criterion for being chosen was (and still is) that the performer/composer/conductor either be a relative newcomer or someone long toiling in the field without the recognition he or she deserved. The only other criterion was that he or she had been witnessed in action by one of our contributors, who felt this was a talent worth watching.
Now, nearly 115 months later, we’ve accumulated a list of more than 100 not-so-new-but-still-rising artists. Following is an update of 25 of our proudest picks, arranged oldest to newest.
Read the articles below or
Baritone Adam Plachetka, February 2009 Conductor Lionel Bringuier, April 2009
Pianist Di Wu, May 2009 Composer Mason Bates, June 2009
Cellist/Composer Joshua Roman, August 2009 Violinist Caroline Goulding, Decmeber 2009
Pianist Tamara Stefanovich, March 2010 Baritone Quinn Kelsey, May 2010
Choreographer Kyle Abraham, June 2010 Soprano Leah Crocetto, August 2010
Tenor Sean Panikkar, November 2010 Dancer Robert Fairchild, January 2011
Composer Du Yun, May 2011 Pianist Daniil Trifonov, August 2011
Conductor Ward Stare, November 2011 Soprano Corinne Winters, January 2012
Violinist Tessa Lark, August 2012 Violinist Patricia Kopatchinskaja, December 2013
Conductor Omer Meir Wellber, June 2014 Conductor Speranza Scappucci, November 2014
Conductor Christopher Allen, July 2015 Conductor Mirga Gražinyte-Tyla, September 2015
Composer Rene Orth, November 2015 Composer Michael Gilbertson, March 2016
Cellist Sheku Kanneh-Mason, January 2017

2018 Guide to Festivals
2018 Guide to Top Festivals
April 2018
Our fifth annual Guide to Summer Festivals is our biggest yet—plus our usual free access to the 1400 listings in the Musical America database. The details for the festivals include dates, locations, booking details, artistic directors, programming, guest artists, ticket prices and much more.
Musical America contributor George Loomis also interviewed officials at two highly regarded events—Ravenna and Ojai—and asked them one set of questions, just for the purposes of compare and contrast. The two couldn’t be more different: one takes place over a weekend, the over a two-month period; one is in the U.S., the other in Europe; one is rural, the other urban; one’s in a valley, the other by the sea; one focuses on contemporary fare, the other on traditional; one houses its artists in homes, the other in hotels; Ojai’s venues are primarily outdoor and strictly 20th century, Ravenna’s are mostly indoor and date as far back as the sixth century. It’s a fascinating study of contrasts.

2018 Guide to Top Competitions
2018 Guide to Top Competitions
February 2018
This Guide is our biggest to date and we've added more information about the competitions―everything from their Twitter handles to the names of the jury members, entry fees, cash prizes (as well as management, performances, and recordings), deadlines, frequency, disciplines, eligibility, and the dates of the semi-finals and finals. So, whatever the discipline, you (or your students) are bound to find the right competition at the right time and the right place.
We also interviewed Benjamin Woodroffe, secretary general of the World Federation of International Music Competitions (WFIMC), for his insights into the latest trends in competitions. Woodroffe discusses how the larger competitions are not only choosing the best and the brightest contestants, but also booking them, training them, and managing them.

MA 30 Professionals of the Year: Movers & Shapers
The MA 30 Professionals of the Year:
Movers & Shapers
December 2017
The Musical America Worldwide audience voted for the movers & shapers and here they are: 30 Professionals of the Year who are shaping the performing arts landscape for the future. From Carnegie Hall to the Crazy Horse Memorial in South Dakota, from Omaha Performing Arts to the Really Spicy Opera of the Twin Cities, these are the people redefining and driving the performing arts towards a future shaped by their vision.
Read the articles below or
Douglas Beck, Director, Artist Training Programs, Weill Music Institute, Carnegie Hall Bob Becker, Founding Member, Nexus; Composer/Arranger
Sarah Burman, Director of Operations and Education, South Dakota Symphony Orchestra Annie Burridge, General Director & CEO, Austin Opera
Carla Dirlikov Canales, Founder, CEO, & Artistic Director, The Canales Project Basil Considine, Founder and Artistic Director, Really Spicy Opera
Paul Crewes, Artistic Director, Wallis Annenberg Center for the Performing Arts Will Crutchfield, General and Artistic Director, Teatro Nuovo
Margo Drakos, Co-founder and CEO, ArtistYear Elena Dubinets, Vice President of Artistic Planning, Seattle Symphony
Peggy Kriha Dye, Artistic Director, Opera Columbus Cori Ellison, Opera Dramaturg, Teacher
Andrea D. Fessler, Founder and Executive Director, Premier Performances of Hong Kong Bernhard Fleischer, Managing Director, Bernhard Fleischer Moving Images
Noreen Green, Artistic Director and Conductor, Los Angeles Jewish Symphony Sean Michael Gross, Executive VP and Chief Strategy Officer, 21C Media Group
Neeta Helms, Founder/President, Classical Movements Jim Hirsch, Chief Executive Officer, Chicago Sinfonietta
Cerise Jacobs, Co-Founder, Librettist, White Snake Projects Peter Jarvis, Salesman, Reuning & Son Violins; Faculty member, New England Conservatory Prep
Alex Laing, Principal Clarinet, Phoenix Symphony; Founder, The Leading Tone Tania León, Composer, Conductor; Founding Artistic Director, Composers Now
Mark Lowry, Co-Founder, Editor, and Chief Theater Critic, Theater Jones Quinton Morris, Assoc. Prof. of Violin, Director of Chamber and Instrumental Music, Seattle University; Director, Key to Change Studio
Eugene Rogers, Associate Director of Choirs, Associate Professor of Conducting, University of Michigan Alex Ross, Music Critic, The New Yorker; Author, The Rest Is Noise, Listen to This
Marna Seltzer, Director, Princeton University Concerts Yuval Sharon, Founder/Artistic Director, The Industry
Joan Squires, President, Omaha Performing Arts Nancy Umanoff, Executive Director, Mark Morris Dance Group

2018 Guide to Summer Camps, Institutes & Programs
2018 Guide to Summer Camps, Institutes & Programs
November 2017
The inaugural Guide to Summer Camps, Institutes & Programs includes key information about more than 170 programs and is designed for ages seven to 70—teachers and parents looking for a summer arts program for their charges, high school students en route to the conservatory and those on their way to a professional career. The Guide is also directed to those for whom the arts is an avocation, looking to hone or rekindle their chops over a summer vacation.
We’ve included both foreign and domestic programs, the tiny programs (Cellos at Belle Serre in Castres, France, with an enrollment of ten) and the huge programs (University of North Carolina at Greensboro Summer Music Camp, with 1,900).

2017-18 Guide to Music Schools2017-18 Guide to Music Schools
September 2017
The new Guide to Music Schools puts critical, in-depth information about more than 50 music schools and conservatories at your fingertips: audition requirements, post-graduate assistance programs, size of the student body, musical degrees offered, number of full time and adjunct faculty, tuition and number of scholarships awarded—as well as all the needed contact information and particulars.
Special Feature: The efforts by music schools and conservatories to keep pace with an ever-evolving job market by engaging in the community is explored in a feature article, Conservatories as Good Citizens: Four Success Stories. Author Brian Wise, producers of the Chicago Symphony Orchestra’s national weekly radio broadcasts, focuses on how music schools are infiltrating their surrounding community to help equip students with the needed tools for success.

2017 Guide to Top Competitions2017 Guide to Top Festivals
April 2017
The 2017 Guide is our fourth annual Festivals guide and the largest to date. We provide in-depth information about these summer musical oases: locations, ticket prices, dates, disciplines, artistic directors, and—for our managers and artists—booking cycles and contacts.
Special Feature: In a special feature article, we examine two summertime young-artist programs, one domestic and one foreign: Glimmerglass and the Aix-en-Provence Festival’s Académie. They share only two characteristics: their focus on opera and their sterling reputations. Otherwise they are very different. Glimmerglass is far smaller and also younger, but they have the same goal: training the artists of tomorrow by enabling them to work under and play—in every sense—with the pros of today.

2017 Guide to Top Competitions2017 Guide to Top Competitions
February 2017
Competitions may be controversial, grueling and, in the end, heart-breaking, but there’s no denying that winning one can launch a major career. Culled from the hundreds of competitions in our database, we’ve come up with a select list; in it you'll find information on frequency, deadlines, disciplines, semifinal and finals dates, eligibility, awards options (such as performances, management, and recordings), and much more.
Special Feature: In a special feature article, we asked five top competitors about what they’ve learned, both as winners and losers, through their experiences. "I always imagine myself being as nervous as possible and still playing well," said Austin Larson, winner of the International Horn Competition of America—just one nugget among many uncovered in our interviews.

MA 30 Professionals of the Year: The Innovators
The MA 30 Professionals of the Year:
The Innovators
December 2016
The Musical America Worldwide audience voted for the innovators and here they are: women composers who mentor teenage girls to follow in their footsteps; opera company GM’s who are pushing the envelope and bringing in new audiences; a cellist who plays in neo-natal units; a conductor who leads choirs of homeless men and women; a pianist bringing back the pedal piano by commissioning new works for it; a competition in which everybody wins; a publicist who creates a press kit with origami cranes to promote a show called Wings.
Their ideas and the courage to follow them through, no matter how off-the-wall, controversial, or otherwise out of the box, keep us moving forward, spur us on to stay creative and keep the field of performing arts vital and exciting.
Read the articles below or
Zuill Bailey, Artistic Director, El Paso Pro-Musica Fred Bronstein, Dean, Peabody Institute
Jane Covner, Associate, JAG Entertainment David B. Devan, General Director and President, Opera Philadelphia
Helen Eaton, Chief Executive Officer, Settlement Music School Alan Fletcher, President and CEO, Aspen Music Festival and School
Adrian Fung, Vice President, Innovation, Toronto Symphony Orchestra James Ginsburg, President, Cedille Chicago
Ed Harsh, President and CEO, New Music USA Thomas Knific, Head of Jazz Studies, College of Fine Arts, Western Michigan University
Christopher Koelsch, President and CEO, Los Angeles Opera Missy Mazzoli and Ellen Reid, Luna Composition Lab
Benjamin Mitchell, Founder and President, Kaleidoscope Chamber Orchestra Beth Morrison, Creative Producer, Beth Morrison Projects
Kristin Olson and Nadir Aslam, Founders, Mount Sinai Concerts for Patients Bill Palant, Founder and Managing Director, Étude Arts
Jonathan Palant, Founder/Conductor, Dallas Street Choir Troy Peters, Music Director, Youth Orchestras of San Antonio (YOSA)
Paola Prestini, Executive/Creative Director, National Sawdust Roberto Prosseda, Pianist
William Ransom, Artistic Director, Emory Chamber Music Society of Atlanta Richard Scerbo, Director, National Orchestral Institute + Festival
Paul Schwendener, Executive Director, All-Star Orchestra Josh Shaw, Artistic Director, Pacific Opera Project
Chad Smith, Chief Operating Officer, Los Angeles Philharmonic Nick Squire, Recording Engineer, Boston Symphony Orchestra
Melvin Stecher and Norman Horowitz, Executive Directors, New York International Piano Competition Christian Thompson, Artistic Advisor, Orchestre National de Lyon
Stephen Wadsworth, Director of Opera Studies, The Juilliard School Katie Wyatt, Executive Director, Kidznotes

The Move to Mobile
The Move to Mobile:
Ticketing, Programming & Marketing in the Arts
November 2016
Your audiences are mobile and are using their devices before, during(!) and after performances, according to research in this Special Report. Is your mobile marketing, ticketing and programming meeting your customers' needs?
Read the articles below or
Mobile Preferences among Arts Patrons Going Mobile: The Options
Going Mobile: A Few Vendors Redesigning with Mobile in Mind
Making the Switch to Mobile Ticketing Making the Switch:: The Wheeler Opera House in Transition
Making the Switch: Maryland Symphony’s Eureka Moment Making the Switch: Cleveland Orchestra’s New Ticketing App
Mobile and Live Performance: A Not Imperfect Union 3 Mobile Solutions, 3 Years Later

2016-17 Guide to Music Schools2016-17 Guide to Music Schools
September 2016
We've chosen to highlight 45 music schools from our database of 1,210 music schools. We asked each of our picks for additional details, such as: audition requirements, post-graduate assistance programs, number of full time and adjunct faculty and number of scholarships awarded.
Special Feature: Musical America explores career-guidance offerings at schools, both before and after graduation. In our feature story, Where Training in the Arts Meets Training for Life, author Ian VanderMeulen speaks with officials at five schools that we felt were particularly well-attuned to job market opportunities and challenges: Curtis Institute, London's Guildhall School, Indiana University's Jacobs School of Music, Juilliard and San Francisco Conservatory.

Growing Audiences: 7 Success Stories
Audience Development
Growing Audiences: 7 Success Stories
June 2016
As the digital entertainment options continue to explode, arts organizations are devising ever-more ingenious solutions for growing audiences and staying relevant.
Here are how seven arts organizations are using new thinking, new programs and new media.
Read the articles below or
The Pacific Northwest Ballet Gets Past “It’s Not for People like Us” The Clay Studio: Hands-on Participation Opens New Doors
New World Symphony’s Wallcast: Planting the Seeds of Future Audiences Fleisher Art Memorial: Staying Relevant in a Changing Neighborhood
Minnesota Opera: A Non-traditional Partner Attracts a New Audience Manhattan Theatre Club: $30 Tickets for 30-Year-Olds
Chicago Theatre Week: The Collaborative Approach to Audience Development

2016 Guide to Competitions 2016 Festivals Guide
April 2016
In this year's Guide, you’ll notice newcomers, such as Tippett Rise, established 2016 in Fishtail, Montana, and old faithfuls, like the Salzburg Festival, founded in that historic city in 1920 and not standing still: Cecilia Bartoli will be singing Maria in West Side Story. Not to be missed.
Special Feature: Our feature story reviews summer music programs that enable "grown-up" individuals to practice a favorite avocation, make friends, and, in many cases, enjoy the scenery. At the Tuscany Project, you can join a gospel choir while spending a week on the Greek Island of Kefalonia, among other of the Project’s locations; or pull your ?ute out of moth balls and head to Baltimore for the BSO Academy. Enjoy.

2016 Guide to Competitions2016 Guide to Competitions
February 2016
We've combed through our database of 500-plus listings of national and international competitions to come up with a special list, chosen either by virtue of their prize monies, their prestige, their unusual nature, or a some combination of these attributes. You'll find information on frequency, deadlines, disciplines, semifinals and finals dates, eligibility, awards options (such as performances, management and recordings), and much more.
Special Feature: We sat with mezzo-soprano Jamie Barton, recent Richard Tucker Award winner and someone on an astonishingly swift career trajectory, to try to find out her approach. Pretend it's just another job, she says, because "doing your job doesn't make your mouth go dry and your legs shake."

MA 30 Professionals of the Year: The Influencers
The MA 30 Professionals of the Year:
The Influencers
December 2015
We recently asked the MA community to nominate 30 people who are making a difference in our business, either by virtue of their position, their creativity, and/or their dedication—folks about whom you could say, “When they speak, we listen.”
You answered, with hundreds of nominees. Please join us in celebrating the Musical America 30: The Influencers.
Read the articles below or
Mei-Ann Chen, music director, Chicago Sinfonietta and Memphis Symphony Orchestra Janet Cowperthwaite, managing director, Kronos Quartet/Kronos Performing Arts Association
Adam Crane, vice president for external affairs, St. Louis Symphony Orchestra Geoffrey John Davies, founder & CEO, The Violin Channel
Afa Sadykhly Dworkin, president & artistic director, Sphinx Organization Ruth Felt, founder & president, San Francisco Performances
Leila Getz, founder & artistic director, Vancouver Recital Society Yehuda Gilad, music director, The Colburn Orchestra
Michael Heaston, director, Domingo-Cafritz Young Artist Program Jonathan Herman, executive director, National Guild for Community Arts Education
David Katz, founder & chief judge, The American Prize Dr. Tim Lautzenheiser, vice president of education, Conn-Selmer
Alecia Lawyer, founder, artistic director & principal oboist, River Oaks Chamber Orchestra Charlotte Lee, president & founder, Primo Artists
Jim Limbacher, managing director & president, St. Paul Chamber Orchestra Bob Lord, CEO, PARMA Recordings
Cheryl Mendelson, CEO, Harris Theater for Music and Dance, Chicago Jerald Miller, managing director, Nu Jazz Agency
Rocío Molina, flamenco dance artist Francisco J. Núñez, founder & artistic director, Young People’s Chorus of New York City
Jordan Peimer, executive director, ArtPower!, University of California, San Diego Amit Peled, cellist & professor, Peabody Conservatory
Scott Reed, president & CEO, Music Academy of the West Lois Reitzes, director of arts and cultural programming, WABE-FM, Atlanta
James Nyoraku Schlefer, artistic director, Kyo-Shin-An Arts David Srebnik, classical music program director, Sirius XM
Xun Sun, music director & conductor, Orchestra of Southern Utah Pierre van der Westhuizen, president/CEO, Cleveland International Piano Competition
Diane Wittry, music director, Allentown Symphony Orchestra, Ridgewood Symphony Orchestra Yolanda Wyns, music program director, Harlem School of the Arts

Publishing 2.0: The Move Toward Digital
Publishing 2.0:
The Move Toward Digital
November 2015
The move toward delivery and use of digital music scores (and music notation software) has gained enormous speed since our first Special Report on the subject last year.
Discover what major organizations and innovators are doing.
Read the articles below or
Digital Score Delivery—Finding a Universal Model
Bonus: Results of G. Shirmer survey with the
Major Orchestra Librarians' Association
Digital vs. Print: Three Committed Converts
Digital vs. Print: Three Music Librarians Weigh the Pros and Cons
Editing in the New Age: Same Job, Different Tools
Accessing Music Scores on the Web: Where to Look for What

A Guide to Music Schools
A Guide to Music Schools
September 2015
Welcome to Musical America's 2015 Guide to Music Schools. The editors have selected top schools from the 1,223 educational institutions in our database and contacted each to gather key information, such as admissions and audition requirements, financial and tuition information, post-graduate assistance programs, and number of full time and adjunct faculty.
Below: View the Guide online and access the database or
Remote Music Lessons, in Real Time and Almost-Real Time
Read more about the schools in this issue
Search Our Worldwide Schools Database FREE during September

Digital Streaming: Reaching a Larger Audience through Digital Means
Digital Streaming: Reaching a Larger Audience through Digital Means
June 2015
The promise has been there for a while: streaming your live performances to a vastly expanded worldwide audience. But only recently have all the elements come together, such as Internet speed, ecommerce tools, reduced video creation costs and audience comfort with the digital streaming medium.
Is it time to take a serious leap into live digital streaming? Musical America asked the bellwethers how they did it and interviewed experts to discover the best ways to get started (and where the pitfalls are).
Read the articles below or
How the Detroit Symphony Live-streamed Its Way to Success A Few Tips for First-time Streamers
Platforms and Providers: A Few of the Biggies that Stream Classical Music Live How Medici.tv Turned a Slowing TV Market into a Speedy, Streaming One
Platforms and Providers: A Few That Specialize in Classical Music The Digital Concert Hall: A Virtual Venue, Literally
Nuts and bolts: from the Philharmonie to cyberspace Five Minutes with the Chicago Symphony: Where to Put Streaming in the Media Mix
How it works, from script to stream Untangling the rights

Summer Festivals Guide 2015Festivals: 2015 Summer Guide
April 2015
With our annual Special Report on Festivals, we continue a Musical America tradition dating back at least 50 years—perhaps longer—of reporting on the year’s upcoming festivals. It would be interesting to compare our reporting from those days with this report; many of the mature destinations—Tanglewood, Aspen, Marlboro—are still very much alive and kicking, changing with the tides but true to their core missions.
We also called on our trusty U.S. and international contributors to find "off-the-beaten-path” festivals". So, we have:
Baroque opera in the medieval walled city of Barga, Italy (Opera Barga)
Al fresco dance by up-and-coming troupes in the Berkshires (Inside/Outside)
An expanded drumming workshop in Setúbal, Portugal (Setúbal Music Festival)
Chamber music on a 17th-century estate in West Cork, Ireland (West Cork Chamber Music Festival)
Shostakovich in the Saxon Mountains (International Shostakovich Days Gohrisch)
Sondheim in the Catskills (Phoenicia Festival of the Voice)
And our personal favorite, Buddhist monks in Norbulingka, Tibet (Shoton Festival).

A Guide to Music Competitions
The Guide to Top Competitions
February 2015
The top competitions worldwide and key information for each: eligibility, deadlines, prizes, categories, locations, juries and more.
Also, we asked author, pianist, and well-travelled jury member Stuart Isacoff to write about his own experiences behind the closed doors of jury deliberations and to discuss some of the different ways competitions are judged.
Below: View the Guide online and access the database or
View the Guide online
Confessions of Seasoned Jurist
Competition Judging: Keeping Evil out of the Jury Room
Search Our Worldwide Competitions Database FREE during February

MA 30 Professionals of the Year: Profiles in Courage
The MA 30 Professionals of the Year:
Profiles in Courage
December 2014
We recently asked the worldwide performing arts community to nominate 30 people who have "taken a risk, spoken out where others were silent—all to the measurable benefit of their arts organizations and the field."
You answered, with hundreds of nominees. For the Musical
America editors, it was a labor of love. We combed through the nominees (not an easy task; all were deserving) and based our 30 final choices on those who can show measureable results, uniqueness, persistence in the face of resistance or hardend tradition, and inventiveness.
These are the risk-takers and innovators. Please join us in celebrating the Musical America 30: Profiles In Courage.
Read the articles below or
Peter Alward, managing director, Salzburg Easter Festival Alexander Lombard, president & CEO, Lake George Music Festival
Martin Anderson, founder & CEO, Toccata Classics Ellen McSweeney, musician & blogger, NewMusicBox
Steven Blier, artistic director, New York Festival of Song Michael Morgan, music director, Oakland East Bay Symphony
Misty Copeland, Soloist, American Ballet Theatre Mattias Naske, intendant, Vienna Konzerthaus
Aaron Dworkin, founder & president, Sphinx Organization Sara Nealy, executive director, Festival Opera
Hobart Earle, music director, Odessa Philharmonic Orchestra Nicole Paiement, founder & artistic director, Opera Parallele
Susan Feder, program officer arts & cultural heritage, The Andrew W. Mellon Foundation Michael Pastreich, president & CEO, Florida Orchestra
Anthony Fogg, artistic administrator, Boston Symphony Orchestra Matthew Peacockk, founder & CEO, Streetwise Opera
Michael Fox, director of operations, Hale Center Theatre Joanne Polk, pianist, teacher, recording artist
Edmund and Patricia Frederick, co-founders, The Frederick Piano Historic Collection Eve Queler, conductor, impresaria
Amelia Freedman, founder and artistic director, Nash Ensemble Mark Sforzini, artistic & executive director, St. Petersburg Opera Company
Wu Han, co-director, Chamber Music Society of Lincoln Center Robert Spano, music director, Atlanta Symphony Orchestra & Aspen Music Festival
Yin-Chu Jou, artistic director, Friendship Ambassadors Foundation Becky Starobin, president, Bridge Records
Johanna Keller, director arts journalism, S.I. Newhouse School of Public Communications Stanford Thompson, founder & artistic director, Play On, Philly! / chairman, El Sistema USA
Carol Lazier, president, San Diego Opera Karen Zorn, president, Longy School of Music

Ticketing: The Latest in Successful Ticket Sales
Ticketing: The Latest in Successful Ticket Sales
November 2014
It's about data, timing and (of course) social media.
Read the articles below or
Events Plus Social Media = Social Ticketing Not All Systems or Suppliers are the Same
The Tessitura Story: Necessity is the Mother of Invention Why, How, and When to Make a Price Change
The Captive Audience Vantage Point: One Size Does Not Fit All

Community Engagement: 5 Cool Case Studies
Community Engagement: 5 Cool Case Studies
September 2014
Many arts organizations have realized if they want younger and/or more clientele, they’ll have to go out into their communities and get them. In Cool Case Studies, we focus on five organizations doing just that, in ways we think are particularly inventive.
Read the articles below or
Central Ohio Symphony's Drumming Circle Baltimore Symphony Orchestra: OrchKids
The Pueblo Opera Program San Francisco Opera's ARIA Network
Musical Instrument Museum: Education is the Main Mission

A Guide to Music Schools
A Guide to Music Schools
September 2014
For those still unsure of where they’ll land in September 2015, Musical America's editors have compiled a guide of 51 top music schools and conservatories around the world, selected from the 1,278 listed in the Musical America Directory.
Below: View the Guide online and access the database or
Of Shrinking Pools and Expanding Puddles of Opportunity
Read more about the schools in this issue
Search Our Worldwide Schools Database FREE during September

Music Publishing: Copyright DeMystified
Music Publishing: Copyright DeMystified
June 2014
Musical America’s latest Special Report, Music Publishing: Copyright Demystified, untangles the many components of the “bundle of rights” protecting and fostering the very core of the arts world: The Work. After all, the proper use of artistic works is one of the bedrocks of the business as well as for fostering creativity. It also keeps everyone on the right side of the law.
Read the articles below or
The Pros and Cons of Self-Publishing BUSTED! The Top Ten Myths of Music Copyright
Untangling the Bundle: Grand Rights vs. Small Rights Predicting the Future: Music Publishing in 2025
Untangling the Bundle: Synchronization Rights, Mechanical Rights (and quite a few more) From the Musical America archives, July 1924: What will the Music of 2024 A.D. Be Like?
Commissioning a New Work: Navigating the Rights Dept of Justice Takes on Music Licensing

Festivals: A 2014 Summer Guide
Festivals: A 2014 Summer Guide
April 2014
The Musical America editors have taken a slightly different approach than in our past Summer Festivals previews: the information has been provided by the festivals themselves in response to questionnaires emailed to festivals painstakingly culled from the more than 1,500 North American and international events in the MA database.
Read the articles and access the databases below or
Sibling Summer Success Stories: Aspen and Verbier Read more about the festivals in this issue
Search Our Worldwide Festivals Database FREE during the Month of April

Turning Points in 5 Extraordinary Careers
The Moment: Turning Points in
5 Extraordinary Careers
March 2014
For some exceptional performers and business notables, success has followed a path filled with wrong turns, lucky breaks, crises of the psyche—or all of the above.
Here are the stories of five of those extraordinary careers.
Read the articles below or
Carl Tanner: From Trucker to Bounty Hunter to…Opera Singer? Nadja Salerno-Sonnenberg: A Career Crisis with a Happy Ending
Sir Nicholas Kenyon: From Humble Scribe to Powerful Arts Honcho Takehiro “Take” Ueyama: The Shortstop Who Slid Into Choreography
Håkon Kornstad: A Magical Moment at the Met
Careers Bonus
List of Executive Recruiters
From Ask Edna — Sage advice from:
• Edna Landau
• Graham Parker, GM and vice president, WQXR classical radio station
• Shauna Quill, executive director, New York Youth Symphony

Movers & Shakers: 30 Key Influencers in the Performing Arts
Movers & Shakers: 30 Key Influencers in the Performing Arts
December 2013
After intense reflection and (mostly civilized) debate, Musical America is proud to present the Movers & Shakers of the Performing Arts Industry.Directors, presenters, marketers, executives, administrators--these are the luminaries, both in front and behind the scenes, who relentlessly strive to innovate and expand the performing arts while keeping their organizations healthy.
Read the articles below or
Brent Assink, Exec. Dir., San Franciso Symphony Jenny Bilfield, President and CEO, WPAS
David Foster, President and CEO, Opus 3 Artists Jonathan Friend, Artistic Admin, Metropolitan Opera
Roland Geyer, Intendant, Theater an der Wien John Gilhooly, Director, Wigmore Hall
David Gockley, General Dir, San Francisco Opera Darren Henley, Managing Director, Classic FM
Kristin Lancino, Executive Director, IMG Artists Stéphane Lissner, GM and Art. Dir., Teatro alla Scala
Timothy O’Leary, Gen. Dir., Opera Theater St. Louis Joseph Polisi, Pres./Trustee, The Juilliard School
Helga Rabl-Stadler, President, Salzburg Festival Jesse Rosen, Pres./CEO, League of Amer. Orchs
Deborah Rutter, Pres., Chicago Symph Orch Assn Marc Scorca, Pres and CEO, OPERA America
Janis Susskind, Managing Dir., Boosey & Hawkes Matías Tarnopolsky, Director, Cal Performances
Peter Taub, Director of Performance Programs, Museum of Contemporary Art Chicago Limor Tomer, General Manager, Concerts and Lectures, Metropolitan Museum of Art
Mark Volpe, Man. Dir., Boston Symphony Orchestra Roger Wright, Cont. BBC Radio 3, Dir. BBC Proms
Francesca Zambello, Artistic and General Director, Glimmerglass Festival, Artistic Director, Washington National Opera The Magnificent 7

The Recording Maze: Navigating, Coping & Cashing In
The Recording Maze: Navigating, Coping & Cashing In
October 2013
The recording landscape has been transformed by technology's relentless march forward. Still, achieving success in whatever side of the business you are on—producing, selling, distributing, even buying recordings—means navigating the recording labyrinth.
Read the articles below or
The Distribution Maze: Bring a Compass, Part I The Distribution Maze; Bring a Compass, Part II
The Distribution Maze: Bring a Compass, Part III Five Minutes, Five Questions with 3 Top Label Execs
The Best Classical Music App Yet Classical Recordings & The App
The Musical America Recording Surveys Fall Recordings: A Somewhat Incomplete (but Still Pretty Good) List

Social Marketing: Blueprint for Success in the Arts
Social Marketing: Blueprint for Success in the Arts
September 2013
Social marketing is now a critical business tool—and requires a businesslike approach. What is your strategy and ROI? Are your efforts organized for greatest impact? What can you learn from other successful operators?
Read the articles below or
Four Tips for Awesome Social Media Marketing Posts Five Twitter Tips
It’s (Mostly) in the Planning Tracking Social Media: A Few Good Tools
Five Steps to Using Facebook Insights A Week in the Social Media Life of Le Poisson Rouge
State Bicycle Co.’s Facebook Success

Mobile Marketing: The Arts in Motion
Musical America Special Report
Mobile Marketing: The Arts in Motion
June 2013
The stunning growth of mobile—and the way audiences have embraced it—point to one thing: mobile is vibrant and lucrative and will reward performing arts organizations that target audiences through innovative, relevant marketing.
Read the articles below or
Catching Up with Our Mobile Society Five Organizations That are Big on Mobile
Mobile Vendors: Just a Few Going Mobile: The Options
Mobile Solutions: eighth blackbird Mobile Solutions: Steppenwolf
Mobile Solutions: Brooklyn Academy of Music Mobile Solutions: Houston Symphony
Arts Patron Smartphone Use Time for the Performing Arts to Get Mobile
Quick Tips from the Experts Making Mobile Money
Mobile Media in the Concert Hall: Who’s Doing It and Who’s Not

Fundraising: The Keys to the Cashbox
Musical America Special Report
Fundraising: Keys to the Cashbox
April 2013
Fundraising is a performing art requiring creativity, skill, and discipline. In this Special Report, we look at successful efforts, some of the pitfalls, and how to leverage social media for ongoing fundraising success.
Read the articles below or
Social Fundraising, an Essential Tool A Quick Look at Kickstarter
How Columbia University Raised $7 Million Online in One Day Competitive Fundraising: Wearing Your Cause on Your Face
Donations are in the Eye of the Beholder: Artseed's "Artathon" Competitive Fundraising: Video Gamers Fight against Cancer
What’s in a Name? More Than You Might Think Turning Likes, Friends, and Followers into Donors
It’s All in the Data Raising Money and the Law: Beware the Ask
What’s the difference between a nonprofit and a 501(c)(3)?

Tickeing: The New Age
Musical America Special Report
Ticketing: The New Age
February 2013
It used to be simple: sell the ticket, fill the house, earn the income, end of story. Not anymore. The sale is now the start of a far more personalized relationship with your customer. We explore the needed technology, skills and methods.
Read the articles below or
5 Tips for Selling More Tickets Ticket Pricing: Technology Replaces the Crystal Ball
Buying a Ticket Is a Social Event 5 Steps to Choosing the Right System
Choosing the Right Ticketing System: The Major Players How to Get the Most Out of Your Ticketing Investment Dollar
Ticketing is Getting Personal Where Should Ticketing Live in My Organization?
The Story Behind the Battle Over Paperless

2012: The Year in the Performing Arts
Musical America Special Report
2012: The Year in the Performing Arts
December 2012
We took a look back at 2012 and a peek ahead at 2013. Read about the most important news stories in 2012, the year's movers and shakers, some of the best decisions made, and predictions for 2022 from some of the industry's leaders.
Read the articles below or
2012 Newsmakers 2012 News Milestones
2012's Ten Truly Inspired Ideas A few Predictions for 2022
First Annual JJ Opera Awards

Rising Stars in the Performing Arts
Musical America Special Report
Rising Stars in the Performing Arts
November 2012
We combed the business to look for the up-and-comers, the ones with the fresh take, people who are injecting new ideas into the performing arts industry: Artist Managers, Orchestra Leaders, Presenters, Communications & Public Affairs Pros, Educators, and Radio & Recording Pros. These professionals bring something truly special to booking, presenting, promoting, educating and raising money. Musical America's Rising Stars—the ones to watch.
Read the articles below or
Rising Stars in...Artist Management Rising Stars in Orchestra Leadership
Rising Stars in...Presenting Rising Stars in...Radio & Recording
Rising Stars in...Education Rising Stars in...Communications/Public Affairs

Visas: The Journey to the U.S.
Musical America Special Report
Visas: The Journey to the U.S.
October 2012
Obtaining visas for non-U.S. artists to visit the United States can be daunting and frustrating. Musical America talked with managers, presenters, lawyers and the U.S. government to find out how to speed this sometimes overwhelming process.
Read the articles below or
Ten Steps to a Foreign Artist Visa: A Vastly Oversimplified Guide Visa Processing Countdowns
No Such Thing as a Stupid Question
Tales from the Crypt: Horror Stories and Lessons Learned The Story of O (and P)
USCIS Service Center Tips
Visa Definitions It's About Time, Part I: A Conversation with the USCIS
Case Study: Hiring New Artists Who Don’t Have a Full Résumé of “Evidence” It's About Time, Part II: A Conversation with the U.S. Dept. of State
Case Study: Managing Foreign Artists with Multiple U.S. Bookings Case Study: Hiring Artists from the Arab World
Online Bonus
Case Study: Large Volume of Non-WesternArtists Presented Case Study: An International Music Director Who Wants International Artists on his U.S. Stage
Case Study: Helping Presenters in their Visa Crises

Social Media and the Performing Arts
Social Media and the Performing Arts
September 2012
Experts and marketers in and out of the performing arts reveal how to tap the power of social media for effective arts marketing, boosting your ticket sales and exciting your audiences.
Read the articles below or
Tips, Tricks & Best Practices Social Media & Ticket Sales: Introduction
Turn ON Your Smartphones Social Media & Ticket Sales: Big Apple Circus
Organizing Social Media Social Media & Ticket Sales: Cleveland Indians
Measuring Up Social Media & Ticket Sales: Disney On Ice
Case Study: eighth blackbird Tumbles forward with Tumblr Best Practices: Facebook Marketing for Arts Organizations
Location, Location, Location

Musicians and their Health Care
June 2012
Musicians are "the elite athletes of the small muscles"—with the need to stay on top of their abilities during a long career. We looked into the unique health care needs and solutions faced by musicians and businesspeople in the performing arts.
Musician, Protect Thyself: A Few Ounces of Prevention Injury Susceptibility Quiz
Heavy Lifting: Works of Notorious Notes Attention Orchestra Management: You Can Help
Clinics and Medical Practitioners: United States Clinicians and Medical Practitioners: Outside the United States
Good News Case Study No. 1: Peter Oundjian’s Personal Journey Good News Case Study No. 2: Flutist Nora Shulman
Turning Performance Anxiety into Your Personal Best Insuring Your Staffers: An Informal Survey
Group Health Insurance Plans for Performing Artists*

Competitions: Behind the Scenes
May 2012
Key players across competitions provide straight answers to critical questions. Judges: what do they really look for? Presenters: does winning ensure bookings? Managers: do competitions matter? Winners: does winning make a difference?
Read the articles below or download the special report PDF.
Managers: Do Competitions Matter? (or not) 5 Minutes with 4 Presenters: Win a Contest, Get a Gig?
Choosing the Best Competition for YOU Competitions with Deadlines between 15 May 2012 and 15 May 2013
What Do the Judges Look For? Winners Tell Their Stories: Nadja Salerno-Sonnenberg
Winners Tell Their Stories: Christine Goerke Winners Tell Their Stories: Joshua Weilerstein
Winners Tell Their Stories: Emanuel Ax Winners Tell Their Stories: Carol Wincenc
Winners Tell Their Stories: Nigel Armstrong

Digital Media Marketing in the Arts
April 2012
Packed with actionable information and best practices—case histories, in-depth interviews, tips, best practices and deep-dive reviews of successful digital marketing campaigns in the performing arts.
Read the articles below or download the special report PDF.
Tips, Tricks & Best Practices for Digital Marketing Introduction to Five Case Studies
Why You Care About Pinterest (even if you don't know what it is) Case Study No. 1: Detroit Symphony Orchestra
On the Horizon: New Location-based Apps Case Study No. 2: National Theatre of Scotland
Best Practices for Emailing in the Arts Case Study No. 3: Kronos Quartet
Email Best Practices For the More Advanced Case Study No. 4: New York Philharmonic
Four Digital Campaigns That Worked (#1): Composer/Soloist Tracy Silverman Case Study No. 5: Los Angeles Philharmonic
Four Digital Campaigns That Worked (#2): Pianist Jim Brickman A LOOK INSIDE: Opera House Arts' Digital Marketing (annual budget: $650K)
Four Digital Campaigns That Worked (#3): The Jerome L. Greene Performance Space—'Battle of the Boroughs' A LOOK INSIDE: Cal Performances' Digital Marketing (annual budget: $13M)
Four Digital Campaigns That Worked (#4): The New World Center WALLCAST Concerts A LOOK INSIDE: Indianapolis Symphony Orchestra's Digital Marketing (annual budget: $27M)



Law and Disorder by GG Arts Law

Career Advice by Legendary Manager Edna Landau

An American in Paris by Frank Cadenhead



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