Can Opera Be Brought to the Masses
Identifieur interne : 000012 ( Istex/Corpus ); précédent : 000011; suivant : 000013Can Opera Be Brought to the Masses
Auteurs : Graeme Currie ; Carrie HobartSource :
- Marketing Intelligence & Planning [ 0263-4503 ] ; 1994-03-01.
Abstract
Addresses the question as to whether opera can be brought to the masses defined as socioeconomic groups other than A and B. First, it describes the methodology used in collecting the data. Goes on to describe and analyse the audience profile of operagoers, and nonoperagoers, in terms of demographic, psychographic, and geographic analysis, and to establish reasons for attendance and nonattendance among different social groups, based on culture, motivation, and attitude. Finally, makes recommendations in the form of a marketing mix to encourage a wider audience for opera.
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DOI: 10.1108/02634509410057437
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First, it describes the methodology used in collecting the data. Goes on to describe and analyse the audience profile of operagoers, and nonoperagoers, in terms of demographic, psychographic, and geographic analysis, and to establish reasons for attendance and nonattendance among different social groups, based on culture, motivation, and attitude. Finally, makes recommendations in the form of a marketing mix to encourage a wider audience for opera.</div></front></TEI><istex><corpusName>emerald</corpusName><author><json:item><name>Graeme Currie</name><affiliations><json:string>Lecturer, Organizational Behaviour at the University of Derby</json:string></affiliations></json:item><json:item><name>Carrie Hobart</name><affiliations><json:string>Market Research Assistant at NEC Group Ltd, UK</json:string></affiliations></json:item></author><subject><json:item><lang><json:string>eng</json:string></lang><value>Arts</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Attitudes</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Consumer behaviour</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Customer profiling</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Customer surveys</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Marketing mix</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Perceptions</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Theatres</value></json:item></subject><language><json:string>eng</json:string></language><abstract>Addresses the question as to whether opera can be brought to the masses defined as socioeconomic groups other than A and B. First, it describes the methodology used in collecting the data. Goes on to describe and analyse the audience profile of operagoers, and nonoperagoers, in terms of demographic, psychographic, and geographic analysis, and to establish reasons for attendance and nonattendance among different social groups, based on culture, motivation, and attitude. 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Do Not Edit! --><article dtd-version="1.0" xml:lang="en" article-type="case-report"><front><journal-meta><journal-id journal-id-type="publisher-id">mip</journal-id><journal-id journal-id-type="doi">10.1108/mip</journal-id><journal-title-group><journal-title>Marketing Intelligence & Planning</journal-title></journal-title-group><issn pub-type="ppub">0263-4503</issn><publisher><publisher-name>MCB UP Ltd</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1108/02634509410057437</article-id><article-id pub-id-type="original-pdf">0200120202.pdf</article-id><article-id pub-id-type="filename">0200120202</article-id><article-categories><subj-group subj-group-type="type-of-publication"><compound-subject><compound-subject-part content-type="code">case-report</compound-subject-part><compound-subject-part content-type="label">Case study</compound-subject-part></compound-subject></subj-group><subj-group subj-group-type="subject"><compound-subject><compound-subject-part content-type="code">cat-MARK</compound-subject-part><compound-subject-part content-type="label">Marketing</compound-subject-part></compound-subject><subj-group><compound-subject><compound-subject-part content-type="code">cat-MSM</compound-subject-part><compound-subject-part content-type="label">Marketing strategy/methods</compound-subject-part></compound-subject></subj-group></subj-group></article-categories><title-group><article-title>Can Opera Be Brought to the Masses?</article-title><subtitle>A Case Study of Carmen the Opera</subtitle></title-group><contrib-group><contrib contrib-type="author"><string-name><given-names>Graeme</given-names> <surname>Currie</surname></string-name><aff>Lecturer, Organizational Behaviour at the University of Derby</aff></contrib><x></x><contrib contrib-type="author"><string-name><given-names>Carrie</given-names> <surname>Hobart</surname></string-name><aff>Market Research Assistant at NEC Group Ltd, UK</aff></contrib></contrib-group><pub-date pub-type="ppub"><day>01</day><month>03</month><year>1994</year></pub-date><volume>12</volume><issue>2</issue><fpage>13</fpage><lpage>18</lpage><permissions><copyright-statement>© MCB UP Limited</copyright-statement><copyright-year>1994</copyright-year><license license-type="publisher"><license-p></license-p></license></permissions><self-uri content-type="pdf" xlink:href="02634509410057437.pdf"></self-uri><abstract><p>Addresses the question as to whether opera can be brought to the masses (defined as socio‐economic groups other than A and B). First, it describes the methodology used in collecting the data. Goes on to describe and analyse the audience profile of opera‐goers, and non‐opera‐goers, in terms of demographic, psychographic, and geographic analysis, and to establish reasons for attendance and non‐attendance among different social groups, based on culture, motivation, and attitude. Finally, makes recommendations in the form of a marketing mix to encourage a wider audience for opera.</p></abstract><kwd-group><kwd>Arts</kwd><x>, </x><kwd>Attitudes</kwd><x>, </x><kwd>Consumer behaviour</kwd><x>, </x><kwd>Customer profiling</kwd><x>, </x><kwd>Customer surveys</kwd><x>, </x><kwd>Marketing mix</kwd><x>, </x><kwd>Perceptions</kwd><x>, </x><kwd>Theatres</kwd></kwd-group><custom-meta-group><custom-meta><meta-name>peer-reviewed</meta-name><meta-value>no</meta-value></custom-meta><custom-meta><meta-name>academic-content</meta-name><meta-value>yes</meta-value></custom-meta><custom-meta><meta-name>rightslink</meta-name><meta-value>included</meta-value></custom-meta></custom-meta-group></article-meta></front><body><sec><title>Introduction</title><p>This article addresses the question as to whether opera can be brought to the masses. For the purpose of the article the masses are taken as those socio‐economic groups other than A and B classes.</p></sec><sec><title>Background to Research</title><p>Research undertaken focused on the production of Carmen the Opera, at the National Indoor Arena in Birmingham in September 1992. Classical Productions promoted the opera with the support of event planners from the National Indoor Arena (part of the NEC Group Ltd) and Birmingham City Council. This was the first time that this performance had been staged outside London when touring the United Kingdom. A salient factor as regards the focus of the research was that tickets were a third of the price to see the equivalent in Covent Garden.</p></sec><sec><title>Methodology</title><p>Quantitative and qualitative methods of collecting data were used. Such methodological triangulation (<xref ref-type="bibr" rid="b15">Todd, 1979</xref>) represented a more imaginative way of maximizing the amount of data collected (<xref ref-type="bibr" rid="b1">Abrahamson, 1983</xref>). It allowed the researcher to gain a deeper understanding of the perceptions, attitudes, and motivations of existing and potential consumers of opera.</p><p>Thus, on the quantitative side; short, concise, reply paid questionnaires were designed to establish a demographic, geographic and psychographic profile of attendees to Carmen the Opera. The questionnaire was incentivized to gain a larger population sample, for a more accurate analysis of the opera audience. Following a pilot survey, a total of 2,000 questionnaires were distributed (37,000 people attended the performances). One month later 570 responses were secured, of which a representative sample of 300 were analysed. After the questionnaires were analysed, it was realized that there was a need for a more qualitative approach to gain a deeper understanding of the motivates and attitudes held by the consumers and non‐consumers of opera. Therefore structured interviews were conducted on a paired comparison basis; five attendees to Carmen and five non‐attendees of the same age, sex and social class.</p><p>In addition, unstructured interviews were carried out with respondents who had an in‐depth knowledge of the opera business. They were from various backgrounds, and therefore had different views on the subject of whether “opera can be brought to the masses”.</p><p>Further qualitative research was conducted by using participant observation techniques at the Carmen event. Here, the researcher took part in the audience. Feel and intuition was used, in order to produce common or contradicatory themes and patterns from the data which “fit and work” (<xref ref-type="bibr" rid="b7">Jones, 1985</xref>). The researcher needed to stay close to the data as any observations had to be placed carefully in context.</p></sec><sec><title>Findings</title><sec><title>Demographic Analysis</title><p><italic>Age</italic>. The Carmen survey indicates that the majority of opera‐goers are of the more mature age groups, 66 per cent were 45 and over (see <xref ref-type="fig" rid="F_0200120202001">Figure 1</xref>). Additionally, the <italic>Opera Now</italic> survey (1990) quoted that it was the over 55s who represent nearly half those interested in opera.</p><p>However, evidence from other sources (<italic>Opera Now</italic>, 1990) has shown that 60 per cent of those becoming interested in opera during the past five years are aged under 35, and they are more receptive to radical or modern performances of opera than the over 55s. Evidence gathered from Carmen suggested otherwise. It was the case here that primary research indicated that only 16 per cent of the audience to Carmen were under 35. It would be expected that more mature age groups may have gained greater status in their work and therefore be on a higher income. From this one could assume that they would be more likely to have the level of disposable income enabling them to afford the relatively high price of opera, in comparison with other out‐of‐home activities such as musicals which can be seen as less costly.</p><p>Another factor which may affect attendees to opera being more mature is that a person′s activities are likely to be influenced by his/her friendship/reference groups (<xref ref-type="bibr" rid="b12">Shiffman and Kanuk, 1991</xref>). Therefore if older age bands engage in this activity it is likely to influence more involvement from people of the same age. Motivation should also be considered. It may be that consumers within this age range have higher level needs to be fulfilled (<xref ref-type="bibr" rid="b9">Maslow, 1943</xref>). Attending opera may satisfy their “ego” needs, such as status and recognition from others.</p><p><italic>Sex</italic>. The Carmen survey showed that 65 per cent of opera‐goers were female. Further data (OPCS, 1989) illustrated that there is a higher projected number of females in the more mature age groups. By 2025 it is expected that the excess of women over men will be 1.3 million. Therefore, if opera continues to attract more females than males, this can only be a positive for the future of opera.</p><p><italic>Social class</italic>. The Carmen research showed that 61 per cent of opera‐goers were from the socio‐economic classes A and B (see <xref ref-type="fig" rid="F_0200120202002">Figure 2</xref>). The <italic>Opera Now</italic> survey (1990) found that “professional and white‐collar workers comprise 62 per cent of opera‐goers”. The major reason for the majority of opera‐goers being within the higher social classes was the cost of tickets. In the structured interviews 80 per cent of opera‐goers found cost to be an important factor. One attendee commented that, “Carmen was value for money for the scale of the production, but too high to increase the audience of opera”.</p><p>The <italic>Sounds Like Birmingham</italic> (1992) report indicated that, “for large numbers of the more marginal, potential audience, price has both real and psychological importance, and this will need to be taken into account for future marketing strategy”. This may not mean lower prices, but simply mean better promotion of concessions and more intelligent promotion of price bargains.</p><p>However, unstructured interviews conducted with producers of opera have claimed that it is not possible to lower the average price of opera (£30 for Carmen at the NIA). This was the case even in an arena environment with a potential capacity of 8,000 people per night.</p><p>It has been argued that there is a blurring of social class in that over the last few years opera has become, “commonplace on television and video making household names of leading opera singers and has helped to create a new public that wants to attend live opera” (<xref ref-type="bibr" rid="b8">Kettle, 1992</xref>). <xref ref-type="bibr" rid="b5">James (1993)</xref> suggested that opera has lost much of its elite appeal due to its use in indirect advertising; for example, “Nessun Dorma” being used as the World Cup anthem in 1990. It may be seen that opera no longer clearly indicates to which social category it appeals. However, a person′s social status can still be seen to restrict behaviour as illustrated by the results of the Carmen survey. It still attracts mainly upper and middle class groups, even after the recent popularity of “Pavarotti in the Park”, and, “Harry Enfield′s Guide to the Opera”.</p><p>It may be suggested that this is the case because of the types of media used to inform people about performances. The majority of reviews and advertising remain in the quality papers and Radio 3 rather than on television and tabloid newspapers.</p><p>Also, opera appeals to the upwardly mobile by its promotion as a prestige item, thereby appealing to the aspirational motivations of those who wish to obtain membership or be associated with those of a higher social class.</p></sec><sec><title>Psychographic/Lifestyle Analysis</title><p><italic>Frequency of attendance</italic>. The Carmen survey indicates that 95 per cent of opera‐goers attend relatively regularly (see <xref ref-type="fig" rid="F_0200120202003">Figure 3</xref>); that is, one to three times per year. This implies that the average opera‐lover can actively afford to go to the opera.</p><p>Evidence from the interviews found that 60 per cent of those who had not attended Carmen, had never been to the opera before. This may suggest that in order to bring opera to the masses it is necessary to offer more free concerts such as the very popular “Pavarotti in the Park”, or concerts at reduced rates.</p><p>Evidence of this has been shown in the <italic>Sounds Like Birmingham</italic> survey (1992) where 65 per cent of attendees to the arts in Birmingham claim that their appreciation of the music they attended has increased. Therefore the <italic>Sounds Like Birmingham</italic> programme has probably helped to create a larger, long‐term audience with knowledge of more types of music and wider taste.</p><p>Theatre has a high popularity with both opera‐goers and non‐opera‐goers. This was illustrated in the structured interviews where 90 per cent of all respondents had been to the theatre one to two times during 1992. This may be due to the variety of “theatre” on offer which can appeal to a very wide‐ranging audience at reduced prices, depending on the production.</p><p>This implies that if a variety of opera is offered to the public, from radical to the traditional productions, then it is more likely to appeal to a wider audience.</p><p><italic>Readership profile</italic>. The question: “How did you find out about this event?”, allowed for analysis of the readership profile (see <xref ref-type="fig" rid="F_0200120202004">Figure 4</xref>). Forty‐eight per cent of respondents to the Carmen survey read quality newspapers.</p><p>Also research from <xref ref-type="bibr" rid="b6">Joint Industry Committee for National Readership Surveys (1989)</xref> showed that the people in the A and B socio‐economic groups are more likely to read “quality newspapers” than other socio‐economic groups. The results from this could be seen to correlate with the socio‐economic classifications of attendees. This would suggest that a review of media channels used to advertise the opera is needed to attract a wider audience.</p><p><italic>Lifestyles statistics</italic>. In order to determine the demand for opera productions such as Carmen for the future, leisure statistics have been analysed. “Leisure time has increased with 57 per cent of adults having four hours or more free time during an average week day. Sixty‐five per cent have five hours or more free time on an average weekend day” (<italic>Opera Now</italic>, 1990).</p><p>It would be rational to suggest that an increase in leisure time would see an increase in demand for opera. However, this is dependent on income. Evidence suggests that opera has low income elasticity of demand (<xref ref-type="bibr" rid="b3">Goldfarb, 1993</xref>). Thus, even in a recession, opera audiences have not shrunk. One reason for this may be that the social category to which opera enthusiasts more commonly belong are the socio‐economic classes A and B. Therefore, it may be suggested that the recession has not affected their behaviour patterns in the way that it may an individual from a lower class.</p></sec><sec><title>Geographic Analysis</title><p><italic>Location of respondents</italic>. Forty‐six per cent of respondents to the Carmen survey were local inhabitants, from Birmingham and the surrounding areas (see <xref ref-type="fig" rid="F_0200120202005">Figure 5</xref>).</p><p>Most of the operatic and major theatre productions are based in London. Carmen was the first arena opera of its kind to play in the UK outside of London. The promoters of Carmen stated that: “Birmingham offered the second largest customer market to London and that the NIA offered excellent facilities”.</p><p>The <italic>Opera Now</italic> survey (1990) found that for people living outside London, the biggest single reason for opera enthusiasts to never go to the opera is lack of opera for them to attend. Also, younger people claim that they do not have the time to travel the distances involved in getting to the opera. It could be seen that opera produced further north at a less costly price could bring it to a wider audience.</p></sec><sec><title>External Factors</title><p><italic>Culture</italic>. Opera originated in Italy and could be considered to be alien to our culture. Therefore, if we are to determine whether opera can be brought to the masses, one would have asked whether it can be culturally accepted by our wider society. Evidence from the Carmen survey and secondary research suggest that it has not been accepted by the majority of people in our society, but more so by socio‐economic classes A and B, who represent only 3 per cent of the British population.</p><p>This may be because an important part of our culture are the habits and leisure activities which become a way of life. In the case of opera, a fundamental barrier to its adoption is the language barrier. Opera is traditionally performed in Italian or German, languages which the majority of British people do not speak or identify with.</p><p>This factor seems to have been noted by promoters of opera, who have introduced subtitles (translation screens) in more contemporary operas such as Carmen. However, this relatively new phenomenon for a live performance was not included in any promotional literature for the event. Thus, any preconceived ideas about the audience not understanding or appreciating the storyline would have been justified. One comment noted from a non‐attendee was, “I didn′t think I would understand Carmen as I don′t know the story”.</p><p>Another interesting phenomenon is that the opera companies such as Opera Box have produced popular but radical pieces in English. The <italic>Opera Now</italic> survey (1990) found that the younger audiences to opera enjoyed these productions and were more likely to attend arena operas or new radical performances.</p><p>However, the more mature and majority of opera enthusiasts prefer to see opera in a more traditional environment such as an opera house, and prefer operas that are presented in a foreign language (<italic>Opera Now</italic>, 1990).</p><p>This would imply that a variety of opera performed in various environments and in different styles should be offered, to attract both the present and potential audiences.</p><p><italic>Self‐image</italic>. The fact that opera has appealed to some individuals and not others may be the result of the self‐image held by the individual. Evidence presented by <xref ref-type="bibr" rid="b2">Belk (1988)</xref> shows that consumers attempt to preserve or enhance their self‐image by buying products which they believe are congruent with their self‐image. It may be the case that opera is not attracting a wider audience because of the image it projects, that of being “cultured” and “elite”.</p><p>If companies marketing opera alter that traditional image by portraying opera as being value for money and spectacular entertainment then this may appeal to the masses.</p><p><italic>Attitudes</italic>. Attitudes gained from the Carmen survey and secondary sources imply that there is a general concensus that opera is too expensive. There is also evidence that there is a divide between social classes and age groups attending the opera. This would support the fact that a potential mass audience believes opera is not for them. <xref ref-type="bibr" rid="b14">Sutcliffe (1992)</xref> suggested that people are suspicious of opera′s pretentions and alienated by its snob appeal. If this attitude can be changed by giving opera more credibility (<xref ref-type="bibr" rid="b4">Hovland <italic>et al.</italic>, 1951</xref>) by; for example, using a celebrity that a wider audience can relate to, such as Pavarotti, or Harry Enfield, reinforcing the message that opera is for everyone, then negative attitudes may change.</p></sec></sec><sec><title>Conclusion</title><p>The audience profile obtained from primary and secondary data established that the majority of operagoers were in socio‐economic classifications A and B.</p><p>The analysis of these findings would suggest that this is a symptom of the external factors of consumer behaviour such as, the British social class structure, social group influences, and culture, or internal influences, such as an individual′s motivation, self‐image, attitudes, and price perception. Therefore one could conclude that the hypothesis that, “opera can be brought to the masses”, has been tested and is negative. However, recently evidence exists to suggest that attitudes are changing. Extracts from the media claim that exposure to opera and operatic pieces on television, is bringing opera to the masses. Additionally, it would seem that companies are changing their marketing strategies to react to this new demand to appeal to a wider audience, as they see market opportunities arising.</p><p>This may indicate that in the future opera will be brought to the masses, but in order for those potential consumers of opera to change their behaviour patterns, it is of prime importance that the promoters of opera, such as the NEC Group Ltd, successfully target and communicate to a mass audience that opera is for everybody.</p></sec><sec><title>Recommendations</title><p>Evidence from the primary and secondary findings suggest that at the present time, opera has not been brought to the masses. However, the analysis of results have found that this may not be the case if a contingency approach to future opera management is taken. In the right context, opera can be brought to the masses. Therefore, the following marketing mix is recommended in order for companies to change present consumer behaviour patterns to bring opera performances to a wider audience.</p><sec><title>Promotion</title><p><list list-type="bullet"><list-item><label>• </label><p>Increased education and exposure to opera is needed, particularly in schools, colleges, and universities, to reach a wider audience at a young age in order for them to feel that it is part of their culture. This may be attained by increasing music education, or by opera companies touring educational establishments.</p></list-item><list-item><label>• </label><p>By advertising opera through mass media channels such as television, to appeal to a wider audience from different backgrounds, and of all ages. Advertising should be retained on specialist radio, such as Radio 3 and in the quality press, to maintain the present opera‐goers and to target the upwardly mobile.</p></list-item><list-item><label>• </label><p>Evidence suggests that the majority of opera consumers are female, therefore media channels which target women should be selected.</p></list-item><list-item><label>• </label><p>To encourage the continued use of operatic pieces on adverts and television programmes as indirect promotion. For opera to remain in the public eye and therefore be more accessible.</p></list-item><list-item><label>• </label><p>To appeal to all social groups by broadening the existing stereotype of opera‐goers by employing the “common man” approach, as a reference group influence that a mass audience can relate to, and to break down any misconceptions about opera that people may have.</p></list-item><list-item><label>• </label><p>Promotions should stress the use of translation screens, the availability of any concessions or bargains on offer, and the fact that opera is spectacular entertainment and value for money.</p></list-item></list></p></sec><sec><title>Price</title><p><list list-type="bullet"><list-item><label>• </label><p>To rethink the pricing strategy of opera by considering the long‐term benefits of offering concessions or price bargains, such as cut‐price packages for families and schools, so that everybody can afford to go to the opera.</p></list-item><list-item><label>• </label><p>Free concerts should be offered where possible in order to encourage the public to sample opera.</p></list-item></list></p></sec><sec><title>Product</title><p><list list-type="bullet"><list-item><label>• </label><p>Offering a greater variety of opera from the more radical/contemporary productions (for example, in modern dress) to spectacular classic operas in arena environments with star guests, should appeal to a mass audience.</p></list-item><list-item><label>• </label><p>Presenting more operas in English to break down the language barrier.</p></list-item></list></p></sec><sec><title>Place</title><p><list list-type="bullet"><list-item><label>• </label><p>Performing more operas outside London, to lower the cost of the production and to bring it to a wider audience in accessible venues such as the National Indoor Arena in Birmingham.</p></list-item></list></p><p>Although cost is an important factor, if the above strategy for opera in the future then research suggests that “opera can be brought to the masses”.</p></sec></sec><sec><fig position="float" id="F_0200120202001"><label><bold>Figure 1<x>. </x></bold></label><caption><p>Chart to Show the Age of Respondents by Percentage</p></caption><graphic xlink:href="0200120202001.tif"></graphic></fig></sec><sec><fig position="float" id="F_0200120202002"><label><bold>Figure 2<x>. </x></bold></label><caption><p>Chart to Show the Percentage of Respondents by Socio‐economic Group</p></caption><graphic xlink:href="0200120202002.tif"></graphic></fig></sec><sec><fig position="float" id="F_0200120202003"><label><bold>Figure 3<x>. </x></bold></label><caption><p>Chart to Show the Number of Operas Attended by Carmen Respondents</p></caption><graphic xlink:href="0200120202003.tif"></graphic></fig></sec><sec><fig position="float" id="F_0200120202004"><label><bold>Figure 4<x>. </x></bold></label><caption><p>Chart to Show How Respondents Found Out About Carmen by Percentage</p></caption><graphic xlink:href="0200120202004.tif"></graphic></fig></sec><sec><fig position="float" id="F_0200120202005"><label><bold>Figure 5<x>. </x></bold></label><caption><p>Chart to Show Distances Respondents Travelled to See Carmen in Miles</p></caption><graphic xlink:href="0200120202005.tif"></graphic></fig></sec></body><back><ref-list><title>References</title><ref id="b1"><mixed-citation><person-group person-group-type="author"><string-name><surname>Abrahamson</surname>, <given-names>M.</given-names></string-name></person-group> (<year>1983</year>), <source><italic>Social Research Methods</italic></source>, <publisher-name>Prentice‐Hall</publisher-name>, <publisher-loc>Englewood Cliffs, NJ</publisher-loc>.</mixed-citation></ref><ref id="b2"><mixed-citation><person-group person-group-type="author"><string-name><surname>Belk</surname>, <given-names>R.W.</given-names></string-name></person-group> (<year>1988</year>), “<article-title><italic>Possessions and the Extended Self</italic></article-title>”, <source><italic>Journal of Consumer Research</italic></source>, pp. <fpage>136</fpage><x>‐</x><lpage>68</lpage>.</mixed-citation></ref><ref id="b3"><mixed-citation><person-group person-group-type="author"><string-name><surname>Goldfarb</surname>, <given-names>A.</given-names></string-name></person-group> (<year>1993</year>), “<article-title><italic>Audience Reaction</italic></article-title>”, <source><italic>The Guardian</italic></source>, <issue>30 March</issue>.</mixed-citation></ref><ref id="b4"><mixed-citation><person-group person-group-type="author"><string-name><surname>Hovland</surname>, <given-names>N.</given-names></string-name></person-group> and <person-group person-group-type="author"><string-name><surname>Weiss</surname>, <given-names>W.</given-names></string-name></person-group> (<year>1951</year>), “<article-title><italic>The Influence of Source Credibility on Communication Effectiveness</italic></article-title>”, <source><italic>Public Opinion 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(<year>1985</year>), <source><italic>Depth Interviews – Applied Qualitative Research</italic></source>, <publisher-name>Gower</publisher-name>, <publisher-loc>Aldershot</publisher-loc>.</mixed-citation></ref><ref id="b8"><mixed-citation><person-group person-group-type="author"><string-name><surname>Kettle</surname>, <given-names>M.</given-names></string-name></person-group> (<year>1992</year>), “<article-title><italic>The Rise of the House of Opera</italic></article-title>”, <source><italic>The Guardian</italic></source>, <issue>18 December</issue>.</mixed-citation></ref><ref id="b9"><mixed-citation><person-group person-group-type="author"><string-name><surname>Maslow</surname>, <given-names>A.</given-names></string-name></person-group> (<year>1994</year>), “<article-title><italic>Theory of Human Motivation</italic></article-title>”, <source><italic>Psychological Review</italic></source>, Vol. <volume>50</volume>, pp. 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<publisher-name>Prentice‐Hall</publisher-name>, <publisher-loc>Englewood Cliffs, NJ</publisher-loc>.</mixed-citation></ref><ref id="b13"><mixed-citation><source><italic>Sounds Like Birmingham</italic></source>, (<year>1992</year>), <publisher-name>Aston Business School</publisher-name>, <publisher-loc>Birmingham</publisher-loc>.</mixed-citation></ref><ref id="b14"><mixed-citation><person-group person-group-type="author"><string-name><surname>Sutcliffe</surname>, <given-names>A.</given-names></string-name></person-group> (<year>1992</year>), “<article-title><italic>A Name for the Nineties: Why Opera 80 is Being Reborn as English Touring Opera</italic></article-title>”, <source><italic>The Guardian</italic></source>, <issue>22 May</issue>.</mixed-citation></ref><ref id="b15"><mixed-citation><person-group person-group-type="author"><string-name><surname>Todd</surname>, <given-names>D.J.</given-names></string-name></person-group> (<year>1979</year>), “<article-title><italic>Mixing Qualitative and Quantitative Methods – Triangulation in Action</italic></article-title>”, <source><italic>Administrative Science Quarterly</italic></source>, Vol. <volume>24</volume> No. <issue>12</issue>, pp. <fpage>602</fpage><x>‐</x><lpage>11</lpage>.</mixed-citation></ref></ref-list></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Can Opera Be Brought to the Masses</title><subTitle>A Case Study of Carmen the Opera</subTitle></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Can Opera Be Brought to the Masses</title><subTitle>A Case Study of Carmen the Opera</subTitle></titleInfo><name type="personal"><namePart type="given">Graeme</namePart><namePart type="family">Currie</namePart><affiliation>Lecturer, Organizational Behaviour at the University of Derby</affiliation><role><roleTerm type="text">author</roleTerm></role></name><name type="personal"><namePart type="given">Carrie</namePart><namePart type="family">Hobart</namePart><affiliation>Market Research Assistant at NEC Group Ltd, UK</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="case report" displayLabel="case-report"></genre><originInfo><publisher>MCB UP Ltd</publisher><dateIssued encoding="w3cdtf">1994-03-01</dateIssued><copyrightDate encoding="w3cdtf">1994</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><physicalDescription><internetMediaType>text/html</internetMediaType></physicalDescription><abstract lang="en">Addresses the question as to whether opera can be brought to the masses defined as socioeconomic groups other than A and B. First, it describes the methodology used in collecting the data. Goes on to describe and analyse the audience profile of operagoers, and nonoperagoers, in terms of demographic, psychographic, and geographic analysis, and to establish reasons for attendance and nonattendance among different social groups, based on culture, motivation, and attitude. Finally, makes recommendations in the form of a marketing mix to encourage a wider audience for opera.</abstract><subject><genre>Keywords</genre><topic>Arts</topic><topic>Attitudes</topic><topic>Consumer behaviour</topic><topic>Customer profiling</topic><topic>Customer surveys</topic><topic>Marketing mix</topic><topic>Perceptions</topic><topic>Theatres</topic></subject><relatedItem type="host"><titleInfo><title>Marketing Intelligence & Planning</title></titleInfo><genre type="Journal">journal</genre><subject><genre>Emerald Subject Group</genre><topic authority="SubjectCodesPrimary" authorityURI="cat-MARK">Marketing</topic><topic authority="SubjectCodesSecondary" authorityURI="cat-MSM">Marketing strategy/methods</topic></subject><identifier type="ISSN">0263-4503</identifier><identifier type="PublisherID">mip</identifier><identifier type="DOI">10.1108/mip</identifier><part><date>1994</date><detail type="volume"><caption>vol.</caption><number>12</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>13</start><end>18</end></extent></part></relatedItem><identifier type="istex">A30E5CCFED5610319134AFB3D03A6B69CD00BB73</identifier><identifier type="DOI">10.1108/02634509410057437</identifier><identifier type="filenameID">0200120202</identifier><identifier type="original-pdf">0200120202.pdf</identifier><identifier type="href">02634509410057437.pdf</identifier><accessCondition type="use and reproduction" contentType="copyright">© MCB UP Limited</accessCondition><recordInfo><recordContentSource>EMERALD</recordContentSource></recordInfo></mods></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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