Tag Archive | "Hill Strategies Research"

Industry Intelligence

Industry Intelligence

This week, we’d like to draw your attention to a pair of papers on topics of great interest to orchestra managers, prepared by students with a keen career interest in the arts. We thank Kelly Hill (Hill Strategies Research) and Tim Crouch (Tafelmusik Baroque Orchestra) for bringing these papers to our attention; we also salute the authors, who have generously given permission for us to post their work on the OC website.

Christopher Merkle wrote Building the Modern American Orchestra: Significant Literature on Major Aspects of the Orchestra Business Model in the United States while working on Master’s degree in Arts Management at Washington D.C.’s American University in 2014. His goal? “[T]o encourage readers to make informed changes to their existing business models by using the most current and relevant research in the orchestra field.” In this reader’s view, he succeeds: the paper is coherently structured, contains a wonderful bibliography, and demonstrates a strong knowledge of the business dynamics of symphony orchestra organizations.

Gillian Arnold, a student in Humber College’s post-graduate Fundraising Management program, wrote The Aging Audience: Myth or Crisis, a study of the impact of audience demographics on arts organizations’ strategy choices.   This is an enjoyable paper: Ms Arnold brings a conversational tone to her work, cites credible research on audience and donor trends and motivations to shed light on some key topics, and undertakes some primary research (with arts managers and her own on-campus peers) as well.

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Industry Intelligence

Industry Intelligence

Many valuable resources have been published in recent weeks.

27 community foundations accross Canada released their Vital Signs reports. Arts organizations can use them to learn about their communities, help with planning and programming. They can even work with their community foundation to enhance the cultural components of their Vital Signs report. Learn more.

Hill Strategies Research published A Statistical Profile of Artists and Cultural Workers in Canada. Did you know that one in every 129 Canadian workers is an artist? And that there are 700,000 cultural workers in Canada?

Hill Strategies also released summaries of excellent reports on the economic, social, and health benefits of the arts. These reports will provide you with great arguments for your patrons, sponsors, your elected officials and all your authorizers.

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Music as Medicine

Music as Medicine

Music provides us pleasure and contributes to education outcomes. It’s also been identified as a factor in promoting good health, and is a potential intervention tool in health care.

We know from a Hill Strategies report that pop concert attendees have a 23% greater likelihood of reporting very good or excellent health than non-attendees, even after controlling for other factors. But why is that? A review of 400 research papers provided several answers.

First, music boosts our immune system by increasing both immunoglobulin A, an antibody that plays a critical role in immunity of the mucous system, and natural killer cell counts, white cells that attack virus-infected and tumor cells.

Second, music appears to have anti-inflammatory properties, by inducing positive changes in cytokines, an hormone-like protein which regulates the intensity and duration of immune responses.

Third, music acts as a buffer to stress. Relaxing music reduces our levels of cortisol and beta-endorphin, two stress hormones which, although useful in crisis situations, may act as neurotoxins and have detrimental consequences for health when they are activated over a prolonged period.

Fourth, music initiates brainstem responses that, in turn, regulate heart rate, blood pressure and body temperature.

Fifth, music is often listen to or played in group context. This reinforces social support networks, which public health specialists have found to be one of the most important social determinant of health.

Music in an Istambul hospitalThese effects of music have garnered attention of healthcare practitioners, who are beginning to exploit the therapeutic potential of music. For example, music was shown to be more effective than Valium to reduce anxiety prior to a surgery. Music also reduces anxiety levels and need for sedative drugs in intensive care unit patients. Similarly, listening to relaxing music after a surgery reduces postoperative pain, lowers the need for opiate drugs to cope with the pain and accelerates recovery.

Music also helps to reduce age-related illnesses and cognitive declines. Among many things, it energizes people suffering from dementia and it supports general wellbeing of elder people.

Music is affordable, and has none of the undesirable side effects that many pharmaceutical products have. (Or, if music does create an addiction, it’s a pleasant and harmless one.) That’s why so many studies conclude that music as a therapeutic intervention should be considered, along with traditional therapeutic interventions, in order to increase the efficiency and effectiveness of health care.

Don’t wait to be sick. Listen to music now, go to a concert, sing a song or play your favourite musical instrument. It’s good for you, and for your health.

To learn more about music and health, visit the Arts Health Network Canada.

Prepared by Frédéric Julien, for CAPACOA and Orchestras Canada

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We are Wired for Music

We are Wired for Music

Music hath charms to soothe the savage breast… and to stimulate the human brain.

For thousands of years, we have used music in our everyday life as a means of relaxation or a source of stimulation. In the last decades, music has been used in clinical setting to promote physical and psychological health and well-being. Earlier this year, a Hill Strategies report found that pop concert attendees have a greater likelihood of reporting very good health than non-attendees. Are humans hard-wired for music? How does it affect our mood and our health? In this first of a series of three articles, we seek answers to these questions in recent – and fascinating – research by Canadian neuroscientists.

Simply put: our brain is built to enjoy and to positively react to music.

Dr. Valorie Salimpoor listening to musicWhen pleasurable music is heard, brain activity increases in the nucleus accumbens, an ancient part of the brain which is known to respond to survival stimuli like food and sex. This increased activity is accompanied by the release of the neurotransmitter dopamine, an essential signaling molecule in the brain which is involved in reward, motivation and pleasure. According to research conducted by Valorie Salimpoor and Robert Zatorre, dopamine is released not only when the music rises to a peak emotional moment, the moment when we feel a “chill” of pleasure down the spine, but also several seconds before, during what we might call the anticipation phase. This complex cerebral activity and the emotional arousal that ensues also induce several physiological reactions: a pleasurable “chill” down the spine and increases in heart rate, respiration and transpiration – much like the responses to a survival-driven stimuli.

A comprehensive literature review conducted at McGill University by Mona Lisa Chanda and Daniel Levitin, found evidence that music also affects health and well being through three other neurochemical systems:

• immunity – which involves serotonin;

• stress and arousal – which involves cortisol; and,

• social affiliation – which involves oxytocin.

Indeed, the information gathered as part of this large-scale review of the literature showed that music increased both immunoglobulin A, an antibody that plays a critical role in immunity of the mucous system, and natural killer cell counts, the cells that attack invading germs and bacteria. Listening to and playing music was also found to reduce level of cortisol, the stress hormone, in the body. There also appears to be connections between music and oxytocin, the so-called “love hormone”, which plays an important role in bonding and group affiliation.

This growing body of information on the neurology of music is providing us with many insights on the universality of music. It is also paving the way to interesting applications in other sectors: this will be the subject of upcoming articles.

Prepared by Frédéric Julien, for CAPACOA and Orchestras Canada

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What are you reading?

What are you reading?

Hill Strategies Research has just published a report on business support of the arts and other non-profit organizations. You can find the report here.

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What are you reading?

What are you reading?

Once again this year, Orchestras Canada has commissioned an analysis of our Comparative Report data from Kelly Hill of Hill Strategies Research. This year, we asked Kelly to analyze trends in attendance, and key revenue and expense categories for our 50 benchmark orchestras from 2004-05 to 2011-12 – and we also asked him to consider what has happened since 2008-09. Perhaps we are biased, but we think the report makes fascinating reading. Whether you’re a numbers nerd, or simply someone who’s keenly interested in what is happening with Canadian orchestras, we commend this report to you highly. You can find the report in the Resources section of OC’s website, here.

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Analysis of 50 Canadian Orchestras’ Finances and Attendance Between 2004-05 and 2011-12

This report examines the situation of 50 Canadian orchestras based on Orchestras Canada member surveys from 2004-05 through 2011-12. The survey covers orchestras’ revenues, expenses, surplus or deficit situations, performances, attendance, and endowment funds. Orchestras Canada checked the information submitted for accuracy against the orchestras’ financial statements and corresponded with orchestra managers when information was unclear.

The report was prepared by Hill Strategies Research for Orchestras Canada in May 2013.

Link : Analysis of 50 Canadian Orchestras’ Finances and Attendance Between 2004-05 and 2011-12

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Hill Strategies Research

Hill Strategies Research is a Canadian company that specializes in applying social science research methods to the arts sector.

Hill Strategies created the Arts Research Monitor, which provides synopses of qualitative and quantitative research findings in the arts and culture. The Monitor can be browsed by topics and makes it easy for  artists, arts managers, funders, policy makers, researchers and others to find the research information that they need.

Hill Strategies also provides the Statistical Insights on the Arts series (statistical reports), presentations based on research findings and a newsletter.

Link: Hill Strategies Research

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What are you reading?

What are you reading?

We’ve got a pair of recommendations this week – and a renewed request.

First of all, we’d like to share a series of reports and presentations that arts researcher Kelly Hill has prepared at the request of Orchestras Canada and with the support of the Ontario Arts Investment Fund. Kelly’s analysis of the Financial Condition of 50 Canadian Orchestras, 2004/05 to 2009/10 and 2004/05 to 2010/11 (and the associated presentations that he gave, at our request, via webinar AND live at our national meeting in Montreal in May 2012) are now available on the Hill Strategies Research website, here.

Secondly, we’d like to draw your attention to a provocative paper by arts researcher and thinker Alan S. Brown. To whet your appetite, here’s a taste: “Among the subtlest but most important shifts in patterns of cultural participation is the increased importance and meaning that consumers attach to the settings in which they engage in creative activities. The implications for arts presenters and the venues, spaces and facilities they use are significant. Future generations will not ascribe the same importance to permanent venues with fixed seating and fixed staging. In order to remain relevant, arts presenters and producers must radically re-conceptualize the relationships between their programs and their spaces in order to reach younger and more diverse audiences.” Intrigued? Terrified? Wondering what it might mean for symphony orchestras? Read more, here.

Finally, we’re still looking for nominations for your “must-visit” arts news websites, blogs, etcetera. We’re assembling the ultimate orchestral blog roll – and we need your help. Simply comment on this article, and we’ll make a note of your recommendation. Thanks!

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Montréal, nous t’aimons

Montréal, nous t’aimons

Between Sunday, May 27 and Tuesday, May 29, over ninety people representing Canadian orchestras from St. John’s NF to Nanaimo BC gathered in Montréal for Orchestras Canada/Orchestres Canada’s national orchestra meetings – 48 hours of concentrated learning, peer exchange and artistic appreciation. The event was co-hosted by the Orchestre symphonique de Montréal and the Carmelle and Rémi Marcoux Chair in Arts Management at HEC Montréal, and – between the generosity and formidable resources of our hosts, the hospitality shown to us by the Conseil des Arts et des Lettres de Québec (CALQ) and the Conseil des Arts de Montréal, the consistently high standard of the presentations, the transparency and power of the OSM’s sound in the new Maison symphonique, the generosity of our partners in government, corporate sponsors, and foundation and individual donors, the sheer fascination exerted by our host city, and the reliable joy of once again sharing the air with true colleagues – a splendid time was had by all.

Many of the sessions were recorded, and over the coming weeks, OC’s summer student Mike Romaniak will be editing the recordings, synching them to the PowerPoint slides, and posting them on OC’s YouTube channel. We’ll keep you up to date on the latest!

While many, many people went beyond the call of duty in making all of this possible, Orchestras Canada/Orchestres Canada particularly wants to recognize:

The team at the Orchestre symphonique de Montréal – Mmes Madeleine Careau and Melanie La Couture, and – of course – Maestro Kent Nagano, whose presentation to the group on Tuesday morning was a highlight

The faculty and staff of the Chair in Arts Management at HEC Montréal, with particular thanks to Francois Colbert, Holder of the Carmelle and Rémi Marcoux Chair in Arts Management, who generously supported our quest to partner with HEC Montréal on the conference, and Dr. Wendy Reid, who invested untold hours to ensure that our program was rich in intellectual content, that we heard about HEC faculty’s latest research on relevant topics, and that our dealings with the school were pleasant in all ways.

Our guest speakers: Kelly Hill of Hill Strategies Research; Dr. Robert Flanagan, professor of Labour Economics at Stanford University; Bob Fraser, bass trombonist of the Victoria Symphony and secretary of the Organization of Canadian Symphony Musicians; Stephen Huddart, CEO of the J.W. McConnell Foundation; Robert Sirman, director of the Canada Council for the Arts; Maestro Kent Nagano; Kelly Rice of CBC Radio; and breakout session guests Denise Ball, Robert Rowat and Steve Pratt from CBC; Frédéric Massé, Heenan Blaikie, Labour and Employment Law Group; and Cossette Communications.

Members of our group who led or facilitated break-out sessions for their peers: Trudy Schroeder, Erika Beatty, Vicki Young, Leanne Davis, Mitchell Krieger, Marie-Anne Perreault, Elizabeth Aman-Hume.

Volunteers from HEC Montréal, who assisted with everything from package stuffing to registration to note taking.

A particular feature this year was a parallel gathering for education and community engagement staff of Canadian orchestras, made possible by a visionary foundation partner. This intrepid group met for a day and a half for a program that explored such topics as diverse audiences, using technology to further orchestra’s music education programs, collaborations and partnerships, evaluation, and network development. This part of the program was designed and facilitated by Dr. Diana Dansereau, Assistant Professor of Music Education at Boston University, and it featured guests from a range of artistic disciplines. In the coming weeks, we’ll be working through some of the implications of the meeting, including the all-important work of building on the nascent network that started so well in Montréal.

Finally, a word of thanks to the funders and sponsors who made it all possible:

Canada Council for the Arts
Department of Canadian Heritage
An anonymous foundation donor
Great West Life – London Life – Canada Life
Dr. George Freundlich
Coffee break sponsors: Agence Station Bleue, L’Arsenal à Musique, Cowan Insurance, Domoney Artists Management, Long and McQuade

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Next Generation Leaders Orientation Session

Oakham House, Riel Room
63 Gould Street
8:00-9:00 am

Katherine Carleton
Andrew Mellanby

Orchestras Canada’s Next Generation Leaders program, now in its second year, is a competitive national bursary program designed to help talented future leaders with a keen interest in Canadian orchestras, and under the age of 35, to attend the National Meetings, and engage in in-depth conversations with senior leaders in the field. This year’s NGL participants include:

Emily Carr (Thunder Bay Symphony)
Jeremy David Krahn (Winnipeg Symphony Orchestra)
Allison Luff (Regina Symphony)
Marie-Anne Perreault (Orchestre symphonique de Longueuil)
Faeron Pileggi (Toronto Symphony Orchestra)
Bryn Richards (Saskatoon Symphony Orchestra)
Kevin Zakresky (Prince George Symphony Orchestra)

The program is underwritten by Orchestras Canada’s Strategic Reserve Fund.

Culture Track 2014: Examining the Evolving Behaviors of Cultural Audiences (Plenary)

Oakham House, Tecumseh Auditorium
63 Gould Street
9:00-11:00 am

Maggie Hartnick, Associate Director, Strategy and Branding
Hil Moss, Associate Strategist

Elaine Calder, Executive Director, Shaw Festival
Robert Fraser, Chair, Organization of Canadian Symphony Musicians
Denny Young, Vice President, Development, Toronto Symphony Orchestra

Culture Track 2014 is the culmination of a decade of national research (fielded 6 times since 2001) that focused exclusively on attitudes, motivators, and barriers of culturally active audiences. LaPlaca Cohen built on existing research studies and dug deeper into what’s really driving or discouraging cultural participation. The findings include a new – broader – definition of culture, how people plan for and engage with organizations and with culture, and how people perceive an organization as worthy of participation or donation, among others.

More information about Culture Track>>>


For twenty years, we have helped many of the world’s leading cultural and creative organizations tell their stories, building more powerful connections that amplify their impact on their communities and the world.

We are the only strategy, design, and full-service advertising firm in the US that exclusively serves the creative and cultural sector. The result is that we have become strategic partners for our clients, addressing needs that no other single resource can.

Our passion fuels our expertise. We thrive on the dynamism of the ever-changing cultural landscape and the opportunities it creates to engage, enlighten, and inspire.

Attesting to our dedication to service and our ability to deliver and sustain results, we have been privileged to work with an unrivaled roster of leading museums, performing arts organizations, architecture firms, orchestras, dance companies, corporate sponsors, foundations, and collectors.

Long & McQuade Coffee Break


Long & McQuade is the largest chain of musical instrument retailers in Canada, with 63 locations from British Columbia to Newfoundland. This means that if you’re a touring musician, you’ll have the benefit of dealing with a familiar store with consistent sales, supplies and service, no matter where your homebase is.

Balancing Act: The Financial Health of Canadian Symphony Orchestras (Plenary)

Oakham House, Tecumseh Auditorium
63 Gould Street
1:30-2:30 pm

Renaud Legoux, Associate Professor of Marketing, HEC Montreal

Perspectives on Recording and Digital Strategies (Panel Discussion)

Oakham House, Layton Room
63 Gould Street
2:30-3:30 pm

Moderator: Randy Barnard
Tricia Baldwin, Managing Director, Tafelmusik Baroque Orchestra
Marie-Josée Desrochers, Director of Strategic Planning and International Relations, Artistic Department, Orchestre symphonique de Montréal
Rick Dunlop, VP Sales and Marketing, NAXOS Canada

This session is generously sponsored by Beatty Media Projects.
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For the last 20 years, I produced concerts with professional orchestras across Canada. Known for strategic integration of innovative ideas and new technology, I helped create partnerships, develop audiences, and bring in new revenue. I love to connect with others who create intriguing projects and get things done. My favorite work identifies community need, creates lasting results, and engages new, young and remote audiences.

[thinking / learning / making things happen]

Finding and Keeping a Younger Audience: What's working?

Oakham House, Tecumseh Auditorium
63 Gould Street
2:30-3:30 pm

Moderator: Renaud Legoux
Jennifer Bryan, Director of Sales, Toronto Symphony Orchestra
Tim Crouch, Marketing Coordinator, Tafelmusik Baroque Orchestra
Kimberly Raycroft, Senior Marketing Officer, National Arts Centre Orchestra

This session is generously sponsored by TicketPro.

Finding and Keeping a Younger Audience: Sponsored by TicketPro


Ticketpro Canada Inc. is a leading provider of box office software and online ticket sales and services for entertainment events. We specialize in feature-rich solutions for venues, festivals, event organizations, producers and promoters.

Dean Artists Coffee Break 2

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“Dean Artists Management specializes in the management of classically trained singers, conductors of singers, and opera stage directors/choreographers. Founded by owner Bruce Dean as the classical music division of The Talent House (www.talenthouse.ca), Canada’s most successful classical agency has branches in Toronto and New York. After twenty years in international arts management, we remain attuned to the trends of the opera and classical music markets, and to the visions of our colleagues and clients.

Working as a team to strategically broaden the careers of established artists, Dean Artists Management is equally known for its ability to nurture and guide emerging careers. Our artists include specialists in both early and contemporary music, carefully chosen “cross-over” artists, and those directors and conductors who have a particular knowledge of, and affinity for, opera, choral and vocal orchestral repertoire.”

Deepening Community Toward Strategic Engagement (Plenary)

Oakham House, Tecumseh Auditorium
63 Gould Street
4:00-5:15 pm

Speaker: Paul Born

Paul Born, author, Ashoka Fellow, and President of Tamarack Institute will give a talk and lead a short workshop inspired by his recent book, “Deepening Community: Finding Joy Together in Chaotic Times”. In chaotic times like these we naturally reach out to each other for security, sense making and belonging. Many years of not really needing each other and over-relying on professional intervention to meet our individual and community needs have left us with diminished skills and resources for community. How can we build community in our lives, our organizations, and in the places we live? Paul’s powerful and often humorous stories provide concrete examples that inspire individuals to reach out to others and work together.

Tanztheatre Wuppertal Pina Bausch: Kontakthof

Making its Toronto premiere and marking the 40th anniversary of choreographer Pina Bausch’s legendary Tanztheater Wuppertal, Kontakthof is the crowning achievement of her too-brief career. First staged in 1978, it has earned global praise as a masterful examination of the eternal battle of the sexes; wherein whatever harmony is achieved is ultimately scuttled because male and female forces are inevitably opposed. The setting is a drab dance hall, as separated groups of women and men slowly interact. The need, and quest, for not just intimacy but love ignites a spectrum of actions and reactions, sometimes angrily, often comically, always brilliantly.

Critical Response Workshop (Plenary)

KPMG, 333 Bay St, 46th Floor
9:00-10:30 am

Judy Harquail
Tim Yerxa
Sam Varteniuk

Our three facilitators will lead attendees through a Critical Response process, using the Tanztheater Wuppertal performance as the departure point. (A ticket to the performance is included in all meeting registrations.) Deceptively simple, the power of the process is extraordinary: it encourages reflection, connection, and inclusion in group discussions about any complex shared experience. In addition, the facilitator does not need to be an expert on the subject and only requires minimal education on the process itself.


Cowan Insurance Coffee Break 3

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As one of the preeminent insurance brokerage and consulting operations in Canada, Cowan specializes in providing the best value to businesses, organizations and individuals for their insurance and risk management needs. Cowan Insurance Group represents the leading national and international insurance companies in order to provide the best balance of coverage, risk management services and specialized expertise available to each and every client.

Canadian orchestras and Federal Government Priorities

Moderator: Micheline McKay
Jeff Alexander, Vancouver Symphony Orchestra
Thérèse Boutin, Orchestre symphonique de Québec
Brian Emmett, Chief Economist, Imagine Canada
Paul Wells, Political Editor, Maclean’s

What can we do today to initiate positive change for ourselves, our orchestras, our community?

Facilitator-in-chief: Jane Marsland

Orchestras Canada’s new strategic plan is predicated on collaboration – the belief that better collaboration between orchestras will further the cause of orchestral music in Canada, enhance the resiliency of the sector, and make every orchestra stronger. We think OC has a key role to play in facilitating this collaboration – but we need your input!

This conference-closing session will begin with an open forum to confirm topics that you think are the most amenable to a collaborative approach, whether led by members or led by OC (Research and analysis? Collaborative artistic/education projects? Advocacy? Digital strategy? You tell us!)

Move into facilitated breakout sessions for in-depth discussions and rapid prototyping of the ideas your group finds most compelling, and conclude with a report-back to the plenary.

We look forward to your input and your energy!



Associate Director, Strategy & Branding, LaPlaca Cohen

Maggie’s diverse experience in the fields of art, architecture, and design gives her a distinct edge for driving content direction, ideation, and strategic ideas for the cultural world. She has helped to direct messaging, marketing, and communications strategies for renowned national and international projects in the private and public sector that range from urban planning, museums, and performing arts, to education, hospitality, and interactive technology.

Maggie has been involved in the art and architecture world in a variety of ways, including journalism, teaching, curating, and advocating. Before joining LaPlaca Cohen, she was a Senior Manager of Content Strategy, Communications and New Media at the architecture and design firm, Rockwell Group.

Maggie received a MA in Art and Architectural History from The Institute of Fine Arts at NYU, and a BA in English Literature and Fine Arts from Amherst College.


Associate Strategist, LaPlaca Cohen

With a background in both the performing arts and the global contemporary art world, Hil brings a diverse range of insights into the cultural landscape and the unique opportunities that organizations possess as they move into the future. Hil received a BA in Art History and a certificate in African Studies from Princeton University, where her undergraduate thesis focused on new models of collaborative art practice spearheaded by burgeoning artists in Kampala, Uganda—where she also assisted in planning for the development of the first multi-disciplinary arts center in the country. Prior to joining LaPlaca Cohen, she interned in the Deputy Director’s Office of the Solomon R. Guggenheim Foundation & Museum.

Hil sits on the Board of Trustees of the Princeton Triangle Club, the oldest touring collegiate musical-comedy troupe in the United States, in which she previously performed as an actress and served as the organization’s President


President, Organization of Canadian Symphony Musicians

Robert Fraser (goes by “Bob” to all his friends) has been the bass trombonist in the Victoria Symphony since 1990. He holds a Bachelor’s degree in Music Education from Brandon University, a Licentiate in Trombone Performance from McGill University, and Master of Arts in Musicology/Performance from the University of Victoria.

During the 2005-06 season, Bob was acting bass trombonist of the Calgary Philharmonic, and held a similar position in the Winnipeg Symphony in the fall of 2009; in both instances replacing a musician on sabbatical leave. In addition to his work with the Victoria Symphony, he performs regularly as a trombonist in groups as diverse as the Palm Court Light Orchestra, the Festive Brass (at The Butchart Gardens), and Victoria’s own Renaissance wind band, “A Great Noyse” where he plays an array of wind instruments, including recorder, crumhorn and the ancestor of the trombone, the sackbut.

Besides the trombone, Bob is a chorister, singing with the St. Christopher’s Singers of Christ Church Cathedral, the chamber choir Vox Humana, and the eight-voice ensemble Raincoast Voices. He enjoys lecturing and teaching as well, giving pre-concert talks for the Victoria Symphony and occasional lectures on orchestral music and music history for various groups.

Bob has also worked as a long-time advocate for musicians, as Secretary-Treasurer of the Musicians’ Association of Victoria and the Islands (Local 247, CFM) from 1991-2002, and as Secretary of the Organization of Canadian Symphony Musicians (OCSM) from 2003-2013. In August 2013 he was elected President of OCSM.

Bob occasionally performs music with his wife, Ann, a violinist who specializes in early music. And when he’s not chasing his Abyssinian cat, Jack, around the house, he feeds his addiction to cryptic crosswords and Facebook.


Executive Director, Shaw Festival

Elaine Calder is one of North America’s most experienced performing arts administrators. Between 1994 and 2012 Ms. Calder held executive leadership positions with the Canadian Opera Company, the National Arts Centre, Hartford Stage, the Edmonton Symphony and the Oregon Symphony, before returning to the Shaw Festival as its Executive Director in September 2012 – a position she held previously, from 1990 to 1994. She has led significant financial recoveries at most of these organizations, primarily by increasing attendance and earned and contributed income, rather than by cutting expenditures. She took the Edmonton Symphony to Ottawa for the NAC’s 2005 Alberta Scene Festival with a program of music by five contemporary Alberta composers, and produced its first recording of the music of John Estacio. Similarly, she took the Oregon Symphony to Carnegie Hall for its triumphant performance at the 2011 Spring For Music Festival, and produced its Grammy-nominated recording of that program, entitled Music for a Time of War. Despite her return to theatre she continues to love the symphonic repertoire and orchestral musicians and so far this year has attended concerts by the orchestras of Toronto, Hamilton, Buffalo, Rochester, Cleveland, Columbus, Detroit, Seattle and Portland, Oregon.


Vice President of Development, Toronto Symphony Orchestra

Denny Young has held senior fundraising and communications positions in a number of sectors including health, social service, and the arts. He currently serves as a member of the senior management team of the Toronto Symphony Orchestra in the role of Vice-President, Development. In this position he has the privilege of working with a dedicated team of 14 staff and many passionate volunteers – all tirelessly engaged in developing support for the orchestra’s annual operations and building the TSO’s endowment.

A regular speaker and lecturer on nonprofit management, Denny is also a part-time faculty member at Ryerson University in the Nonprofit Management Program and at Humber College in the Fundraising Management program.


Associate Professor, Marketing –HCE Montreal

Renaud Legoux is Associate Professor of Marketing at HEC Montréal. He received his PhD in Management with a concentration in Marketing from McGill University. He is the director of the Master in Management of Cultural Enterprises. Before his academic career, he worked as a manager for a professional theater company. His current research interests include arts marketing, consumer satisfaction, and sponsorship.


Director of Sales, Toronto Symphony Orchestra

Jennifer Bryan has dedicated over 10 years of her life to arts marketing. After graduating with an arts degree in music, she quickly realized that the glamorous life of a jazz guitarist was not for her. After being taught by the best in the biz at Humber College, Jennifer learned the marketing ropes at Tafelmusik Baroque Orchestra and Chamber Choir. She has since spent 7 years at the Toronto Symphony Orchestra, and is currently Director of Sales, where she focuses on (and delights in) growing audiences and ticket revenue in this wonderfully challenging cultural landscape.


Author, Ashoka Fellow, President of Tamarack Institute

Paul Born is the President and cofounder of the Tamarack Institute which since 2001 has provided leadership in Canada on issues of citizen engagement, collaborative leadership and community innovation. Prior to Tamarack, Paul Born was the Executive Director and co-founder of the Community Opportunities Development Association one of Canada’s leading community economic development organizations that were recognized by the United Nations as one of the top 40 projects in the world. He was elected into the world’s largest network of social innovators, as a Senior Ashoka Fellow in 2013.


Program Manager, Ontario Performance Arts Presenting Networke

Judy has over 30 years of experience working in the performing arts. Her previous accomplishments include directing and executing touring activity for some of Canada’s most highly respected dance and opera companies, developing and executing strategic marketing campaigns and working in collaboration with an extensive range of arts organizations and arts professionals across Canada, the United States, and throughout the world. Amongst the many projects she is currently working on, she is Program Manager for Ontario Presents where she is responsible for the Ontario Dances and Theatre Connects program, the Audience Demographic Mapping program and CCI’s block booking program. She also has extensive experience dealing with all levels of government funding agencies having worked on contract for the Canada Council and the Department of Canadian Heritage assisting in the launch of the Arts Presentation Canada Program in Ontario. Judy is the 2007 recipient of the National Arts Centre award for distinguished contribution to touring and the 2011 Sandra Tulloch Award for Innovation in Arts and Culture in Ontario.


General Manager, The Registry Theatre

Sam Varteniuk is General Manager of The Registry Theatre, and Artistic Director of JM Drama Alumni. He has spent 15 years writing, directing, producing, and starring in stage plays, short films, and sketch comedy. Sam has worked extensively in the world of Drama Therapy/Theatre for Social Change, collaborating with mental health organizations, seniors’ communities, and newcomers to Canada to tell their stories; he recently embarked on another such collaboration with KW’s Extend-A-Family.


Program Officer, Music Section, Canada Council for the Arts

Daniel Swift, a conductor and a musicologist, was artistic director of two Canadian orchestras, and guest conducted ensembles and orchestras in Canada, Europe and the United States. He currently holds the position of Program Officer at the Canada Council for the Arts. At Orchestras Canada’s 2014 National Meeting, on Friday June 13, he will lead an ideas exchange session on support to Canadian composers and conductors as it relates to the orchestra milieu.

Conductor and musicologist Daniel Swift studied oboe and composition at the Conservatory in Trois-Rivières, music history and musicology at Laval University in Québec, and conducting with Pierre Dervaux and Jean-Pierre Jacquillat in Paris. He has been music director of l’Ensemble instrumental de Trois-Rivières, the Laval University orchestra and of the Ensemble instrumental des Jeunesses musicales du Canada (Montréal). Winner of the Heinz Unger Conducting Award in 1983, he was assistant conductor for Boris Brott with the Hamilton Philharmonic and Uri Mayer with the Edmonton Symphony Orchestra before becoming conductor and Music Director of the Saskatoon Symphony Orchestra (1984-1992) and of the Niagara Symphony (1999-2008).

A frequent guest of the Canadian Broadcasting Corporation (CBC) and Radio-Canada, Mr. Swift has regularly conducted concerts both for regional and national broadcast. He has also guest conducted numerous orchestras in Canada, the United States and Europe.

Particularly interested in the French repertoire, Daniel Swift directed in Paris and New York (1989), a revival of Francis Poulenc’s musical play Le Gendarme incompris, which he rediscovered during musicological research in France. He participated in the preparation of an edition of this work for music publisher Salabert. As well, he has recorded three ballets of French composer Henri Sauguet with the CBC Vancouver Orchestra on the SM5000 label. This CD entitled Parisian Ballets was unanimously recommended by music magazines in Japan, France and the United States.

Daniel Swift has also worked as Music Officer for the Canada Council for the Arts (1992-1999) where, through the years, he managed Sound Recording, New Music, Commissioning, Residencies, Professional Orchestras and Opera/Music Theatre programs.


President and CEO, Vancouver Symphony Society

Jeff Alexander was named to the position of President & CEO of the Vancouver Symphony Society in September 2000. As such, he serves as the chief administrator for the organization, responsible for overseeing board, government and community relations, long-range planning, and day-to-day management for Western Canada’s largest performing arts organization and Canada’s third largest symphony orchestra with an annual budget of over $14 million.

Since his appointment, Alexander has worked closely with VSO Music Director Bramwell Tovey, the organization’s Board of Directors, musicians, staff and volunteers to strengthen every aspect of the organization’s artistic, fiscal, community, governance and administrative activities. With the implementation of a new strategic plan in 2002, subsequent updates, and a wide variety of new programs, the organization has experienced significant growth in subscription and single ticket sales, as well as individual, corporate and government support, resulting in a surplus on annual operations for nine of the last ten years.

Alexander has also supported a number of innovations at the VSO, including the reformatting, expansion and creation of concert series; significant growth in the organization’s educational and community programs and community partnerships; the use of video screens in the concert hall; the Society’s first endowment campaign ($10.2M raised to date); the purchase and implementation of Tessitura (the first orchestra in Canada to own and operate this integrated ticketing/fundraising software package developed by the Metropolitan Opera); the planning and implementation of an Asia-Pacific tour with concerts in Korea, Macau and China in October 2008 (the first international tour for the orchestra in 17 years); a May 2009 tour to Ottawa, Toronto, Montreal and Quebec City (the orchestra’s first performances in these cities in 33 years); a January 2013 tour to the U.S. West Coast (the orchestra’s first U.S. tour in 35 years) and the creation of the state-of-the-art 25,000 square foot VSO School of Music directly next to the orchestra’s home, the Orpheum Theatre, now home to over 950 students and 60 faculty members. The result has been a renewed spirit of support and admiration for the orchestra locally, regionally, nationally and internationally.

Prior to joining the VSO, Alexander spent sixteen years at the Cincinnati Symphony Orchestra, including twelve as General Manager. As such, he was the “second in command” for the sixth oldest and eighth largest orchestra in the United States, with an annual budget of $28 million. In this position, he managed an orchestra of 99 full time musicians, and was responsible for all elements of program planning, concert production, and orchestra relations. He participated in four master agreement negotiations; planned and managed 12 domestic tours, each with concerts in Carnegie Hall, and four international tours, with concerts throughout Europe and Asia.

Alexander was responsible for the production of over sixty recordings and seven national television programs for both the Cincinnati Symphony Orchestra and Cincinnati Pops Orchestra. He served on the Steering Committee which planned activities for the Orchestra’s 100th Anniversary Season in 1995; a 1998 Long Range Planning Task Force; and in 1999 the Music Director Search Committee.
Concurrent with the above, Alexander managed the Cincinnati May Festival, an annual choral festival founded in 1873 for which the CSO is the official orchestra.

Prior to being named General Manager, he served the CSO as Director of Regional and Educational Programs, overseeing all educational activities, and a series of orchestral and chamber music concerts in sixteen communities throughout Ohio, Indiana and Kentucky.

From 1982 to 1984, Alexander served as General Manager of the Laredo Philharmonic Orchestra in Texas and from 1980 to 1982 as General Manager of Grapa Concerts in New York City, an artist management firm specializing in organizing Latin American tours for North American and European soloists and ensembles.

Jeff Alexander is a graduate of the New England Conservatory of Music in Boston where he majored in French Horn Performance. He has been a member of the League of American Orchestras since 1984 and Orchestras Canada since 2000. He was elected to the Board of Directors of Orchestras Canada in 2001 and during the subsequent ten years served on its Nominating, Executive Director Search and Bylaw Review Committees, was Vice-Chair of the Board from 2005 – 2007, Chair from 2007 – 2009 and in 2010 chaired its Leadership & Professional Development Task Force. He has served on adjudication panels for the Canada Council for the Arts, British Columbia Arts Council, YWCA of Greater Vancouver and the Alcan Awards, as well as a member of the City of Vancouver’s 125thAnniversary Advisory Committee, and for six years the Vancouver Foundation’s Arts & Culture Advisory Committee.


President and CEO, Orchestre Symphonique de Québec

An experienced manager with a passion for culture, Thérèse Boutin (President and CEO of l’Orchestre symphonique de Québec) has worked in the arts, education and communications field for most of her 35-year career. Beginning as a journalist with CBC/Radio-Canada, she quickly leaped into the management field, working in media, public administration, education and music, in Ontario and in Québec. Additionally, Ms. Boutin has been a senior partner in a communications and strategic planning consulting company for the past 20 years.

A graduate of Laurentian University, where she obtained a BA in Political Science, Thérèse Boutin also holds a Master’s degree in Political Science from York University, a Masters in Public Administration from Queen’s and an MB from l’Université du Québec à Trois-Rivières.

A woman of action and dedication, she has been a member of various Boards from the Chamber of Commerce to the local Conservatory including schools, choirs community groups.

After leading a successful restructuring of the Orchestre symphonique de Trois-Rivières (2006-2013), she was named CEO of the Orchestre symphonique de Québec in May 2013.

She joined the Board of Orchestras Canada in November 2007, was its chair from 2011-2013 and is now past-chair. She has also been on the Board of the Conseil québécois de la musique.


Chief Economist, Imagine Canada (Charitable and Nonprofit Sector)

Brian Emmett is an economics graduate of the University of Western Ontario and the University of Essex in England, and has enjoyed a long and distinguished public service career. He was Canada’s first Commissioner of the Environment and Sustainable Development in the late 1990s and worked extensively on Canada’s Green Plan. He also served as Vice-President of the Canadian International Development Agency (CIDA) in the early 2000s and has been an Assistant Deputy Minister in a number of federal government departments. As the Chief Economists at Imagine Canada, Brian Emmett measures the impact of the Charitable and Nonprofit Sector and brings economic issues facing charities and nonprofits to the forefront of public policy decision makers.


Political Editor, Maclean’s

Paul Wells, political editor of Maclean’s magazine, has reinvigorated Canadian political writing for more than a decade. His career began in Montreal at The Gazette in 1989; in 1997 he became the Gazette’s national affairs columnist, and then moved to the National Post for its launch in 1998. In 2003, he joined Maclean’s, where he has won two gold National Magazine Awards for his writing on politics. A regular commentator for both English – and French – language television and radio, he is also the author of The Longer I’m Prime Minister: Stephen Harper and Canada, which won the Shaughnessy Cohen Prize for political writing and the John W. Dafoe Prize for Canadian non-fiction.


Arts Consultant, Toronto Alliance for the Performing Arts and ARTS Action Research

Jane Marsland has been an articulate advocate for the arts for many years and has served on a wide range of boards, advisory groups and committees. Jane was co-founder and director of ARTS 4 CHANGE, a three-year program designed to create positive change for and by arts professionals in Toronto, as well as co-founder and Director of Technical Assistance of the Creative Trust: Working Capital for the Arts.

Ms. Marsland has managed arts organizations since 1970 and was General Manager of the Danny Grossman Dance Company from 1982 to 1999. Since 1999, Jane has been working as a free-lance arts consultant and has worked with more than 100 arts organizations. Currently Jane is working with the Toronto Alliance for the Performing Arts and ARTS Action Research on a new community initiative, Theatres Leading Change Toronto involving 18 small and midsized theatre and dance organizations.

She has been the recipient of two arts community awards: a “Harold’ in 2001 and the Sandra Tulloch Award for Innovation in the Arts in 2002. In 1995, she received the first M. Joan Chalmers Award for Arts Administration for outstanding leadership in the arts. In 2011, she was the winner of the Toronto Arts Foundation’s Rita Davies and Margo Bindhardt Cultural Leadership Award.

In January 2012 Jane was awarded the first Metcalf Foundation Innovation Fellowship in the Arts to examine Shared Platforms and Charitable Venture Organizations and their applicability to the performing arts sector in Ontario.


Vice President Classics and Jazz – Naxos of Canada (2004 to present)

Some highlights