Leeds Metropolitan University

BA(Hons) Public Relations, Arts Marketing

1.1 Introduction

Score! is a school of composition and a venue for the performances of new classical music, and is
based in Ealing, West London. The organisation was founded in April 2005 and is managed by a
voluntary Board of Directors currently made up of 8 members and a triumvirate managerial
structure comprised of an Artistic manager, General manager and Marketing and Sales manager
under the regulation of an Executive Manager.

The main driving force behind the organisation's foundation was to fill a gap in the national
curriculum for music. The art of composition is often neglected as a specialist area and music
teachers in schools frequently have little experience in the subject, despite its importance within the
curriculum. Score! exists to offer specialist and high quality tuition by experienced composers.

Located in London Score! is based in the country's capital for new music and has therefore
established strong links to the world of composition, this not only has helped the continued
development of its student's talents but has also increased its reputation as a performing venue for
new music. This is summarised by Score!'s mission statement of encouraging 'the creating and
performing of new music'.

2.1 Marketing Activity from the Year 2005/2006

Score!'s marketing plan for the previous year is based upon two strategic theories; product
development and diversification (appendix 8). Due to the multi-purpose organisation that Score!
operates as (a venue and a school) both strategies are adopted. Product development is used to
market the venue of the company, and product diversification to the school service offered.

Figure 1 shows the marketing activity costs from the financial year 2005/2006. Score!'s marketing
budget accounts for 15% of the total annual budget for the company. In the 2005/2006 financial
year this gave a marketing budget of £72,500, the mechanisms used are outlined below.

Direct mail was sent to to the Head of Music at all schools and colleges in the London boroughs of
Brent and Ealing as well as youth and community groups within the catchment area.
Advertisements were placed within the local press and specialist magazines, including the Harrow
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 Leeds Metropolitan University
BA(Hons) Public Relations, Arts Marketing

Observer, The Wembley Observer, Harrow Times, The Ealing Gazette, SPNM, and MUSO. Posters
were distributed to schools, conservatories and other arts organisation, and music shops. Where the
materials were placed in appropriate positions, such as notice boards and front enterences.
Advertisements were aired on specialist radio stations including, classic FM and local radio station
Sunrise Radio. Flyers were distributed at concerts and in other arts organisations as well as being
placed at the counters of selected music shops in the area. D-mail, the equivalent to direct mail but
by electronic mail means, was sent to attenders of 'new music', classical music, local music
performances, as well as those associated with traditional music groups.

Mechanism Cost (£) Results of spend (income and attendance)

Print- leaflets 7,250 £4,350 (6%)
Print- brochures 11,600 £15,225 (21%)
Print- flyers 9,425 £3,760 (5%)
Print- posters 13,050 £10,150 (14%)
Advertising- press 5,800 £5,800 (8%)
Advertising- broadcast 2,175 £5,075 (7%)
Direct mail (including d-mail) 18,125 £17,400 (24%)
Sales promotions 2,900 £7,250 (10%)
Special offers 725 £2,900 (4%)
Other tools 1,450 £725 (1%)
GRAND TOTAL 72,500

FIGURE 1- Marketing Activity Costs

2.2 Market Overview

As Score! is currently at the end of its first financial year history of attendance and usage levels are
inconclusive. In its first year the company attracted a total of 57 students to its schooling facility,
and the company have targeted an increase of 20 students in the next financial year. Score! received
£9,120 from students annual fees, £15,900 from its external workshops and £37,400 from its
ticketed concerts in the year. A detailed list of these figures is shown in appendix 1. Other income
sources, such as the IT suite and practice rooms provide the company with considerable income,
totaling £60,853 for the 1st year. Sponsorship and grants are also a key area of income for the
company raising over £17,000 for the financial year. These details are, again, outlined in appendix
1.

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 Leeds Metropolitan University
BA(Hons) Public Relations, Arts Marketing

2.3 Marketing Objectives

1. To raise the profile of Score! as a school of composition

2. To have students taking weekly individual composing lessons
3. To have regular outreach workshops in state and independent Secondary school in Brent and
Ealing
4. To widen the access to new music through promoting Score!'s activities
5. To introduce and maintain new audiences to new works completed by students of Score!
6. To raise the profile of Score!'s role as a concert venue for new music
7. To introduce and maintain new audiences to works by external composers

3.0 Analysis of the Marketing Activity from 2005/2006

In order to critically analyse Score!'s marketing activity it is necessary to understand the process of
devising the original marketing strategy. Figure 2 shows a flow diagram which demonstrates the
planning of a marketing strategy.

Situation Analysis: The

objectives
Target Market

Situation Analysis: Situation Analysis:

The Product The Environment
strategies

evaluation Implementation budgeting

FIGURE 2: PLANNING OF MARKETING COMMUNICATIONS

(source: Brassington and Pettitt, 2003; p.577)

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 Leeds Metropolitan University
BA(Hons) Public Relations, Arts Marketing

3.1 The Marketing Environment

3.1.1 PEST Analysis

A PEST analysis of Score! was conducted to understand the political, economic, social and
technological environment in which the organisation operates. The PEST analysis enables us to
identify the competitive factors, forces and trends from the environment. Appendix 2 shows the full
PEST analysis from which the following implications were found.

The social barriers which face potential users, especially those from ethnic minorities, could prove a
disadvantage to the future operations of Score!. However, Brent and Ealing local authorities seem to
have recognised these threats to the arts in their retrospective areas and are working towards
including all local residents in arts activities, which subsequently will prove a huge benefit in the
long term operations of the company.

3.1.2 SWOT Analysis

Figure 3 shows the SWOT analysis which was conducted for Score!. It shows the position at which
the company currently stands and potential position it could achieve in the future.

FIGURE 3: SWOT ANALYSIS OF SCORE!

STRENGTHS WEAKNESSES
● Premises consist of a modern building ● As no other organisation provide the same
● Excellent location, in close proximity to Ealing services there is no guidance or precedent to
Broadway London Underground station, and a follow
wide range of schools ● location is in London which is an expensive
● Individual tuition city and isolates it from the rest of the UK
● completed works are performed by competent
musicians
● state of the art equipment
● large area for performances
● 5 sound-proof recording studios
● No other organisation provides the same
services
OPPORTUNITIES THREATS

● Encouraging and promoting the art of ● may be perceived as an elitist service

composition amoung people of all ages ● perceived as being expensive
● funding ● music teachers, already established in schools,
● centre of excellence may feel threatened
● national recognised qualifications ● negative perceptions of 'new music'

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 Leeds Metropolitan University
BA(Hons) Public Relations, Arts Marketing

In the future, in order to fulfill its aims and objectives, Score! must work to overcome the threats
and weaknesses that are identified. To do this they must minimise the risk of these factors and
maximise their already implemented strengths and emphasising the potential opportunities for
growth in the sector.

3.2 The Target Market

It is essential that Score! target the right audiences for the entirety of its marketing activity,
otherwise the activity may well not be as effective as it should be. The target audiences are those
individuals that should be targeted in order to match the company's overall objectives. In order to
form the market segments a market segment audit was conducted, which is shown in appendix 3.

When Score!'s facilities are being used as a venue it is important to understand audiences and their
views. Diffusion theory (Rogers, 1962) is a key concept in understanding how the potential
audiences first enter the market, depending on their attitude to innovation and new products, and
their willingness to take risks. Customers can thus be classified as innovators, early adopters, early
majority, late majority and laggards (Brassington and Pettitt, 2005).

The marketer can use these concepts to consider the factors when developing products and their
marketing mixes. Market research can help to define the compatibility and to determine the most
attractive relative advantage. Diffusion theory is explained fully in appendix 4.

It is therefore essential that the

early majority and late majority are
effectively communicated to, both
the benefits of the schooling facility
at Score! and the potential shows
that are shown at the location. The
diffusion process is closely linked
FIGURE 4: CUSTOMERS IN RELATION to the product lifecycle (appendix
TO THE DIFFUSION PROCESS
source: http://www2.gsu.edu/~wwwitr/docs/diffusion/
4) of the services offered, and
therefore it is a necessity to
continually change the marketing
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 Leeds Metropolitan University
BA(Hons) Public Relations, Arts Marketing

activities to match the product lifecycle and its related audience. If this is effectively followed then
the products and services are more likely to attract more customers and in turn raise the profile, and
profits, of the organisation.

3.3 Buyer Behaviour

It is important for the marketing team to understand the way that consumers react to messages.
Score! follow the theory outlined by Strong's (1925) AIDA model, shown in figure 5. As a new
organisation offering new services, the
awareness raising stage is essential to the
success of the company. The cognitive stage of
cognitive
Awareness
the Strong Theory is strongly linked to the
promotion stage of the promotional stage of the
Interest
marketing mix. As aforementioned Score! used
affective
several marketing tools to raise the awareness of
Desire the services, such as direct mail, broadcast and
press advertising. The affective stage of the
behaviour
Action process arises when an interest is seen and
attitude change is developed. It is important to

FIGURE 5: Strong's Theory (1925) maintain communication with the audiences in

this stage to increase the desire to attend
Score!'s services. Score!'s success in its first year is based upon the development of this stage, with
posters and flyering used to provide the target market with further information as to the benefits of
the services offered.

3.4 The Marketing Mix (McCarthy, 1994)

3.4.1 Product

“a product is a physical good, service, idea, person or place that is capable of offering tangible and intangible
attributes that individuals or organisations regard as so necessary, worthwhile or satisfying that they are
prepared to exchange money, patronage or some other unit of value in order to acquire it”
(Brassington and Pettitt, 2003; p.268)

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 Leeds Metropolitan University
BA(Hons) Public Relations, Arts Marketing

As has been mentioned previous, the services that Score! offer its customers are somewhat
innovative, with no other organisation within the catchment area offering a similar educational
facility. The company offers a service rather than a product, and as such is an intangible service.
The product mix that Score! offers is shown in figure 6.

SCORE!

Venue School of composition

The product aspects, full product mix, and Score!'s products position on the Boston Box are noted in Appendix 7.

FIGURE 6: PRODUCT MIX OF SCORE!

School of Composition

During the year Score! offered the following package to its customers for an annual fee of £160.
Individual tuition, the company offer students hour-long tuition in the art of composition to those
aged 11-19 years old each week. Group workshops take place each week on Saturdays, and are led
by one composer and given in specific age groups. Guest speakers from the world of composition
are invited to give talks on a specific area of interest in an area of the facility which holds 50
people. Outreach programmes provide at least 15 annual day workshops per annum in secondary
schools within the specific target areas, during term time. There are also 6 weekend workshops
annually within the target area.

As a venue for performance

Score! have offered the following events over the past year; pupil's showcase concerts, where
students of Score! write and perform their own work to an audience, the concerts are advertised to
the public. There are also concerts for external works, which take place on the first Thursday of
each month, and are presented in the performing space of the facility which can host 200-500
people. Concerts from the previous year included 'Classical Infused with Reggae' and 'Indian Film
Music'.

Positioning of the products is essential to Score!'s success in the market, in order to evaluate the
positioning of the brand a positioning map was conducted, shown in figure 7.

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 Leeds Metropolitan University
BA(Hons) Public Relations, Arts Marketing

KEY:
highbrow A- Philharmonic Orchestra at Royal
A Institute of British Architects
C B- young composers at a drama
theatre
G C- works at Wigmore Hall
D- Lady Blacksmith Mambazo at the
D Barbican Centre
E- Concert at Wembley Arena
SCORE! contemporary F- concert at St Barnabus Church,
Ealing
classical G- class at the Royal Academy of
H
I music

K B H- 'Stomp' at the Vaudeville Theatre

I- Guys and Dolls at the Piccadilly
theatre
F J- production at Questor's theatre

J E Ealing
K- Chior at Brent Town Hall
lowbrow

FIGURE 7: SCORE!'s POSITIONING AS A VENUE

highbrow KEY:
A B A- The National Youth Orchestra
B- The National Youth Choir
J C- Ealing Youth Orchestra
C K D- Harrow Youth Orchestra
D E- Brent Youth Wind Band
G F- Brent Youth String Orchestra
G- Ealing Junior School of Music
I H- Brent Youth Music Service
contemporary I- St. Augustines Prior Saturday
classical F School of music
E J- The Royal College of Music
Junior Orchestra
K- The Suzuki School of Music
SCORE!
H
lowbrow

FIGURE 8: SCORE!'s POSITIONING AS A SCHOOL

Score! has successfully managed to position themselves away from other organisations as an
education facility. Score!'s desired image is that they are an 'inspiring, high quality experience that
will make you proud' and that they offer 'cutting edge and inclusive' services to their customers. The
fact that they are positioned on their own in the market means that they are in an ideal position to
maximise their brand. Score!'s position in the market also enable it to fulfill its marketing
objectives, outlined earlier, in that they are in a favourable position to widen the access to new
music, and also in an excellent position to raise their profile as a school of composition, as they
have very little competition. Figure 8 also shows that there are further gaps in the education music
marketplace.

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 Leeds Metropolitan University
BA(Hons) Public Relations, Arts Marketing

Score!'s positioning as a venue shows that it is neither highbrow nor lowbrow, as shown in figure 7.
Again, no other organisation is located with Score!, it is therefore in a good position to fulfill its
marketing strategy to create a positive perception of new music. There could be potential
competiton from organisations that are considered contemporary, but are perceived as having less
highbrow programmes, such as Wembley Arena and Earls Court Olympia.

3.4.2 Pricing Strategies

“Price impacts upon financial performance and has important influence on buyers' perceptions and
the positioning of the brand” (Vignali, 2001). Score! operates a standard ticket pricing scheme with
a concessionary option for students, pensioners and those receiving job seekers allowance. This
psychological pricing strategy appeals to the vast majority and eliminates any superiority, or
inferiority, issues that may arise. Figure 9 shows the pricing strategy in detailed form, to which
Score! operated in the previous year.

Year 2005/2006

Individual tuition in composition - £55 (per annum)

Group workshops - £55 (per annum)
Guest speakers - £55 (per annum)
Outreach workshops - £25 (per participant)
Library collection - £1.50 (sheet music), £2 (audio CD)
Practice rooms - £25 (per hour)
IT Suite - £2 (per hour)
Recording studio - £180 (8 hours)/£90 (4 hours)
Concert tickets - £8/ £6 concessions

FIGURE 9: PRICING AT SCORE!

Score! do not hold any long term concerts or performances, hence ticket pricing on this front is
fairly set in stone. The company offer concessions of £6 to certain publics, outline previously. There
is a wider range of pricing for the educational services that Score! offer. Much of the pricing
strategy that Score! incorporate is dependent upon the demand for its services, rather than being
price monitoring and changing prices in line with competitors, this is due to the lack of competition

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 Leeds Metropolitan University
BA(Hons) Public Relations, Arts Marketing

within the specific field. If the demand is low for the products then the price will have to drop and
vice versa. Odd pricing produces greater demand than a slightly higher price (Gendall et al, 1997).
Gendall (1997) produced a study which shows that psychological pricing can produce a stepped
demand curve shown in figure 10.

price

£55
£45
£35

quanitiy

FIGURE 10: STEPPED DEMAND CURVE

3.4.3 Promotion

“...much of the problem...lies with the way it is marketed...the risk adverse attitude of many programmers and
promoters contributes to an environment in which classical music marketers rarely make the most of opportunities
presented by contemporary work... we regularly come up against the problem, having convinced an artistic director or
a venue to take on a particular work, of their marketing staff not knowing how to sell it to the public”
(Stewart, 2006; p.21).

The promotion stage of the marketing mix is essentially the creative section of the whole marketing
campaign, and is derived after the marketer has a sound understanding of their publics, messages
and overall objectives. The promotional activities that Score! fulfilled in the previous year are
outlined in section 2.1.

Advertising
Sales Personal Selling
Promotion

The
Promotional Mix
Direct
Public Relations
Marketing

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 Leeds Metropolitan University
BA(Hons) Public Relations, Arts Marketing

Figure 11 highlights the areas of Score!'s promotional activity which are deemed most useful, based
upon their effectiveness and the ability to control the messages which are being sent to the
audiences.

High
Posters Direct M ail

Advertising in local press D-M ail

Advertising on local radio Advertising in specialist

Advertising on specialist radio publications

Ability to control

Bulk distribution of flyers Direct selling through schools

the message

Free CD promotion Season Brochure

M edia Coverage M edia Promotions

Low Ability to High

measure effectiveness

FIGURE 11: PROMOTIONAL ACTIVITY MAP

3.4.4 Place

Appendix 5 shows in detail the issues that can prevent the selected market segments, outlined
earlier, from attending activities at Score!. Score! has made attempts to ensure there is maximum
accessibility to the facilities, these activities, and distribution outlets, are shown in appendix 5.

3.5 Competitor Mapping

It is essential, for any company, to be aware of it's competitors, to maintain a competitive advantage
over them. Figure 11 shows a list of the organisations that are in direct competition with Score!, and
also shows those organisations, that could potentially have an advantage over the company.

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BA(Hons) Public Relations, Arts Marketing

Direct Competitors Potential Competitors

The Barbican Arts Centre Brent Youth Wind Band

Brent Music Service Brent Youth String Orchestra
Questor's Theatre Ealing Youth Choir
The Guildhall College of Music and Drama Ealing Youth Orchestra
The Royal Academy of Music Harrow Youth Orchestra
The Royal College of Music
Trinity College of Music
FIGURE 11: SCORE!'s COMPETITIORS

Despite the potential competitors targeting the same groups of people as Score!, they are targeting
individuals with different interests hence it could be more effective if Score! targeted these
organisations to form strategic collaborations. Appendix 6 maps these competitors by the extent to
which they offer similar products to similar audiences that Score! do.

3.6 Evaluation

The most important part of Score!'s marketing strategy is that they have managed to position
themselves away from potential competitors in the market place, which means that they have a
distinct competitive advantage over other organisations offering similar services. Score! Achieve
this competitive advantage based upon a theory of
differentiation (Porter, 1985). By being unique in the
market the company is able to market it self as an
educational facility and also as a venue. The added
benefits of this show in the financial figures of the
company, which are excellent for a small
organisation in its first year.

Score! does not have an active pricing strategy due

to the nature of its services, it employs a psychological pricing policy which is aimed at optimising
accessibility by charging affordable prices.

The marketing objectives are mostly fulfilled through the policies outlined in this report. It is

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BA(Hons) Public Relations, Arts Marketing

difficult to judge whether it has been a successful year for the company as it is the first year of
operation, however, all the aims were met, in each category of the business, which suggests that the
year was a success. The marketing activity, although very basic, was successful it meeting the
objectives outlined. In the future the marketing strategies may have to change to accommodate new
competitors into the industry, due to the barriers to entry (Porter, 1979) being small. The marketing
activity may have to be much more aggressive in targeting the market segments outlined within the
report, in order to increase the number of students attending classes, and also to maintain high levels
of attendees at events held within the facility. The future success of the company hinges on culture
within the organisation, and whether the marketing managers ambitions match those of the
organisations. However, at present the company's strategy is positive and has been successful in
achieving the goals and aims.

Targeting the right audiences is an essential part of any marketing strategy, for it to be successful. I
feel that Score! has done extremely well in attracting a wide, diverse, range of people to both the
schooling facilities, and more significantly to event held at the venue. The social diversity, outlined
earlier, in Brent and Ealing could pose a huge problem to the company, the fact that Score! offer a
multi-cultural range of performances shows that they are aware of this problem and have made
effort to overcome the problem, the printing of literature in other languages is also a major step in
overcoming these issues. At present, however, I believe they are attracting only the innovators and
early adoptors (Rogers, 1962) to performances, hence only a small proportion of the market. I
believe that for the future success of the company, marketing activity focusing on the early and late
majority (Rogers, 1962) must be initiated, this will subsequently bring in a larger, and more diverse
crowd. Pricing strategy and the placement of advertisements are two areas where the marketing
department will have to change strategies, perhaps offering lower prices, or offering promotional
discounts.

All in all, I feel the strategy has been effective and has most importantly fulfilled its objectives.

4.1 Recommendations for the future

The recommendations for the the coming 12 months are outlined in a marketing plan which has
been created with the view of continuing, and improving, the marketing objectives from the past
year. This marketing plan is shown in appendix 9.
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