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The Strategic Planning Process was led by the Strategic Planning Committee, comprised of CKME board members, staff, and local community members involved in the arts. Additional feedback on the planning process was provided by the Community Advisory Group whose participants include prominent members of the Chicago arts community. The process was facilitated by the Arts Consulting Group.

STRATEGIC PLANNING COMMITTEE Roger Anderson, Actor/Speech Pathologist Natalie Berg, President, Julius Meinl Barbara Bruno, Senior Auditor, Plante & Moran George Darveris, Production Stage Manager CJ de Vera, Sales/Operations, Julius Meinl Thomas Guerra, Production Stage Manager (Ret.) Nicole Hren Blustein, Independent Actress James Jensen, Special Projects Manager, Drury Lane

COMMUNITY ADVISORY GROUP

Carlos Abril, Associate Professor - Music Education, Henry and Leigh Bienen School of Music

Duffie Adelson, President, Merit School of Music Gideon Blustein, Illinois Chamber of Commerce Linden Christ, Education & Outreach Manager, Chicago Opera Theatre

Mark George, President & CEO, Music Institute of Chicago

Gayle Heatherington, Executive Director, Ars Viva Symphony Orchestra

Sara Murphy, Annual Giving Manager, Field Museum

Janet Carl Smith, Deputy Commissioner of Cultural

Alan Salzenstein, Arts Management Professor,

Programming, Chicago Department of Cultural Affairs

DePaul University School of Music

Michael Pauken, General Manager,

Paul Pement, Executive/Artistic Director, Classical Kids Music Education

North Shore Center for the Performing Arts

Seth Parker, Business Manager & Graphic Designer, Classical Kids Music Education

Arts Consulting Group Bruce Thibodeau, President

Daniel Zanella, Senior Consultant

Amy Rasmussen, Executive Director, Chicago Arts Partnerships in Education (CAPE)

Ted Rubenstein, VP of Creative Arts Therapy, Music Institute of Chicago Alan Salzenstein, Arts Management Professor, DePaul University School of Music

Jenny Siegenthaler, Program Officer - Education Programs, Terra Foundation for American Art

Support for Classical Kids Music Education's 2011-2015 Strategic Plan was generously provided by the Chicago Community Trust through the Arts Work Fund and by an in-kind donation of the Arts Consulting Group.


Contents THE PLAN Executive Summary..................................................................... i Introduction................................................................................. 1 Philosophy.................................................................................. 3 Profile......................................................................................... 5 Analysis...................................................................................... 9 Objectives................................................................................. 15 Actions..................................................................................... 19 Conclusion................................................................................ 21

THE appendices Appendix A: Personnel Appendix B: Productions Appendix C: Resources Appendix D: Current Projects Appendix E: Organization Appendix F: ACG Research

CKME STRATEGIC PLAN / 2011-2015

Table of Contents


Executive Summary THE ORGANIZATION

VISION STatEMENT

Classical Kids Music Education (CKME) is a Chicagobased non-profit organization that works to enrich communities through direct access to culturally significant venues, professional artists and organizations, and high-quality theatrical concert productions, while fostering new appreciation for classical music and music history.

XXTo be the premiere organization using drama to lead children enthusiastically into the world of the great classical music composer.

CKME presents the Classical Kids Live! symphony concert series, which for the past two decades has collaborated with more than 400 distinguished orchestras in introducing over two million children and their family members to the extraordinary lives and musical masterpieces of the great classical composers. The series consists of four programs, Beethoven Lives Upstairs, Tchaikovsky Discovers America, Mozart's Magnificent Voyage, and Vivaldi's Ring of Mystery, which are geared toward children in grades K-8 and their families and feature engaging stories presented theatrically on stage by actors and major orchestras. CKME is planning exciting local area strategies for new projects and collaborations that will benefit Chicagoland's communities, schools, and arts organizations.

XXTo captivate, educate, enrich, and inspire young people through a cultural understanding of classical music and historical period. XXTo build new bridges between the music of the past, the children of today, and the audiences of tomorrow. XXTo change the world through the power of music.

OBJECTIVES XXEstablish a strong Chicago-area presence benefitting local communities, schools and organizations. XXEstablish a community home with space to offer early childhood music education classes and music resources. XXIncrease national programming collaborations with more orchestras in order to reach more children.

THE MISSION

XXDevelop a comprehensive distance learning opportunity that will allow all children, especially those in rural areas, to participate in CKME programming.

XXTo provide children with a powerful introduction to classical music through an exciting connection to the lives of the great composers.

XXCreate new program offerings while adding artistic enhancements to current productions.

XXTo provide the world's symphony orchestras with exceptional, professional, and affordable theatrical concert productions in combination with comprehensive educational resources that instill a lifelong appreciation for classical music.

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Introduction Classical Kids Music Education (CKME) is a charitable, Chicago, Illinois-based 501(c)(3) not-for-profit organization that works to enrich the communities that it serves through direct access to culturally significant venues, professional artists and organizations, and high-quality theatrical concert productions, while fostering new appreciation for classical music and music history. The foundation of CKME extends back over two decades to Toronto, Ontario, Canada where Susan Hammond, a young mother and pianist, realized that her daughters embraced classical music when accompanied by story-telling. This realization led to the creation of Mr. Bach Comes to Call, an audio compilation of orchestral tracks by Bach and a story about his life. In time, one CD expanded to a 16 title-series of Classical Kids recordings selling over 5 million units worldwide and earning over 100 awards and honors. Ms. Hammond was awarded Billboard Magazine's International Achievement Award and is a member of the Order of Canada for her contribution to the arts. In 2002, Ms. Hammond approached Paul Pement, a Chicago-based actor and director, to take over direction of the live symphony concert series. Over the next five years, Mr. Pement worked to expand the concert series, including the introduction of Mozart's Magnificent Voyage, im-

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prove the conductor's scores and musician's parts, and concentrated on honing artistic production values and business operations as part of a for-profit organization. Highlights during this period include performing with the Malaysian Philharmonic Orchestra in Kuala Lumpur and with the National Youth Orchestra of Great Britain at the Beijing Music Festival as well as collaborations with over 100 major North American orchestras. The limitations of a for-profit business model propelled the creation of a nonprofit entity that would allow the series to grow into a full-fledged music education organization, and, in 2007, Classical Kids Music Education was born. Since its inception, the organization has continued to foster the Classical Kids Live! concert series, while working to expand its role, particularly in the Chicago region. As part of this process, CKME received a grant from the Arts Work Fund and launched a strategic planning effort in the Fall of 2009 designed to revise the vision, mission and values and establish the goals and objectives that will guide the organization over the next five years. CKME engaged the Arts Consulting Group, Inc. (ACG), a national firm that provides a range of support services to the arts and culture industry, to facilitate the creation of the strategic plan.

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CKME is pleased to present its strategic plan on the following pages.

HOW THE PLAN WAS FORMED A Strategic Planning Committee was formed to lead the planning effort. The members of the Strategic Planning Committee were comprised of CKME board members and staff as well as stakeholders in the organization and members of the Chicago arts community. Seven meetings were held over eighteen months. A Community Advisory Group was also formed to provide feedback regarding the organization and the state of music education both locally and nationally. Members of the Community Advisory Group were selected from top arts education organizations throughout the Chicago region. Three meetings were held at the beginning, middle and end of the process. (See detail in Appendix F: ACG Research - Attachment 1: Strategic Planning & Community Engagement Timeline.) The strategic planning process was facilitated by the Arts Consulting Group with the following goals in mind: XXAddress the degree of success for the current programmatic and funding models in meeting the needs of the community while determining barriers to greater participation. XXAssess the internal strengths and weaknesses of CKME while evaluating its external opportunities and threats. XXCreate a public discussion about the value of CKME and the future of its programmatic and educational initiatives both internally and externally.

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XXGather information from attendees, non-attendees, board, staff, businesses, government leaders, educators, and many others about their CKME experiences and needs. XXIdentify opportunities for successful new programs and/or strategic partnerships that could benefit CKME and its broader communities. XXDevelop a clearly conceived, well-organized strategic plan that addresses the market-driven needs of the community.

The input from the Strategic Planning Committee and the Community Advisory Group, as well as interviews and data collection by the Arts Consulting Group, were incorporated into the plan.

HOW THE PLAN WILL BE USED The CKME board of directors and staff will use the Strategic Plan to guide decision making relevant to maintaining focus on the Organization's goals and objectives, establish clear priorities, align the allocation of CKME's resources, and assess progress over time. CKME can only achieve its stated vision, mission and goals outlined on the pages that follow with the involvement and participation of its board members, staff, actors & stage managers, orchestral collaborators and other local and national music- and education-focused non-profits and their supporters. CKME looks forward to working with its partners and collaborators in undertaking and achieving the vision, mission, goals and objectives described in the following pages.

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Philosophy VISION

Values

To be the premiere organization using drama to lead children enthusiastically into the world of the great classical music composer.

ENRICHMENT

To captivate, educate, enrich, and inspire young people through a cultural understanding of classical music and historical period. To build new bridges between the music of the past, the children of today, and the audiences of tomorrow. To change the world through the power of music.

Enriching young lives with emotional and exciting, fictional stories steeped in rich, historic fact.

CAPTIVATION

Captivating a child's attention through multi-arts disciplines, professional artists and theatrical production values.

INSPIRATION

Inspiring children to excellence in their own interest through a powerful human connection to music of the past.

INTEGRATION

MISSION STATEMENT

Integrating artistic learning into multiple subject areas by supplying classroom support materials that encourage active exploration across the curricula.

To provide children with a powerful introduction to classical music through an exciting connection to the lives of the great composers. To provide the world's symphony orchestras with exceptional, professional, and affordable theatrical concert productions in combination with comprehensive educational resources that instill a lifelong appreciation for classical music.

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Profile KEY PERSONNEL Board Members

Advisory Committee

CKME's distinguished board members provide leadership and guidance on artistic, educational and funding matters as well as provide professional associations with some of the nation's most prestigious artistic and educational institutions.

CKME's Advisory Committee is comprised of devoted volunteers who provide guidance to the organization in areas that include artistic programming, donor development, grant development, music education, and community outreach.

Alan Salzenstein (Board Chair), Professor of Arts Management, DePaul University School of Music

Susan Hammond, Classical Productions for

Gary Griffin, International Stage Director,

Gideon Blustein, IL Chamber of Commerce Jason Shadle, The Philadelphia Orchestra

Broadway's Color Purple

Jan Kallish, Executive Director,

Children, Ltd.

Sara Murphy, The Field Museum

Victory Gardens Theatre

Rick Nyman, Independent Grant Writer

Colette Krontz, Industrial / Organizational

Natalie Berg, Julius Meinl

Psychologist

Paul Pement, Executive & Artistic Director, CKME; Independent Actor & Director

Administration CKME's production and day-to-day operations are managed by two employees. Paul Pement, Executive/Artistic Director Seth Parker, Business Manager & Graphic Designer

Artistic Collaborators CKME's creative team is responsible for bringing the productions from the page to the stage. Paul Pement, Director & Producer Susan Hammond, Series Creator Barbara Nichol, Author Doug Cowling, Playwright/Music Editor John Blane, Music Engraver Symphony Orchestras, Conductors, Musicians and Staff

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Actors and Stage Managers Over the years, CKME has developed a loyal contingent of actors and stage managers whose credits include regional and Broadway productions as well as television and film roles. All are members of Actors Equity Association. Natalie Berg, Chris Petschler, Jeff Kuhl, Tempe Thomas, Roger Anderson, Nicole Hren, Johanna M. Miller, Blaine Hogan, Howie M. Smith, Thad Avery, David Nisbet, Elic Bramlett, Dawn Fenton, Andrew Redlawsk, Cristen Paige, Joe Lehman, Alex Balestrieri, Marci Medwed, Steve Hiltebrand, Brad Hoffman, and Sara Murphy.

(See detail in Appendix A: Personnel.)

PRODUCTIONS Classical Kids Music Education is the exclusive international producer of the highly-acclaimed Classical Kids Live! symphony concert series. The series, which tours North America and abroad in collaboration with professional orchestras, is well-known and respected its field. These popular theatrical concerts currently average fifty performances each season with approximately twenty major orchestral organizations, reaching up to one hundred thousand children and their parents annually. Classical Kids Live! is a programming cornerstone for many orchestras and is an integral and ongoing component of family and educational symphony concerts throughout the United States and Canada. By partnering with professional orchestras, the Classical Kids Live! symphony concert series helps to enrich the communities that it serves through direct access to culturally significant venues, professional artists, organizations, and productions, while fostering new appreciation for classical music and music history. Each production inspires audiences with more than twenty-five musical excerpts, which are woven into the drama as two professional actors share anecdotes and observations based on true incidents from the composer's life. The fully-staged productions, including Beethoven Lives Upstairs, Tchaikovsky Discovers America, Vivaldi's Ring of Mystery, and Mozart's Magnificent Voyage, are underscored by approximately fifty on-stage musicians and feature period costumes, props, set pieces and theatrical lightning. (See detail in Appendix B: Productions.) In addition to the live concert experience, children gain a greater understanding of classical music through curriculum

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materials, musician visits, and cultural presentations right in their classrooms. CKME supplies education materials that offer teachers and students essential connections between the concert performance and classroom learning and are supplied in combination with the productions to provide music study preparation in local classrooms of cities where we tour. These cross-curriculum guides enable educators to provide exceptional instruction and encourage children to engage with classical music masterpieces and the vibrant culture of that era. The resources were developed in coordination with US National Standards for Arts Education and meet or exceed MENC's Educate America Act. (See detail in Appendix C: Resources.)

Orchestral Collaborators Over the last two decades, CKME and its predecessors have collaborated with orchestral organizations throughout North America and the world, including some of the world's most renowned symphonies.

CANADA Calgary Philharmonic Orchestra, Conservatoire de musique de la Monteregie, Edmonton Symphony, Geordie Productions, Orchesta London Ontario, Orchestre symphonique de Montreal, Orchestre symphonique de Quebec, Symphony Nova Scotia, Toronto Symphony Orchestra, Vancouver Symphony Canada, Victoria Symphony Orchestra, and Winnipeg Symphony Orchestra.

CHINA Beijing Music Festival (National Youth Orchestra of Great Britain)

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MALAYSIA Malaysian Philharmonic Orchestra

THE NETHERLANDS Stichting Educatieve Orkest Projecten

SINGAPORE Singapore Symphony Orchestra

UNITED STATES American Classical Orchestra, Annapolis Symphony Orchestra, Ann Arbor Symphony Orchestra, Atlanta Symphony Orchestra, Augusta Symphony Orchestra, Baltimore Symphony Orchestra, Binghamton Philharmonic, Britt Festival, Buffalo Philharmonic Orchestra, Cerritos Center for the Performing Arts, Charlotte Symphony Orchestra, Chicago Symphony Orchestra, Colorado Music Festival, Colorado Symphony Orchestra, The Cleveland Orchestra, Columbus Symphony, Dallas Symphony Orchestra, Detroit Symphony Orchestra, Des Moines Symphony Orchestra, Delaware Symphony Association, East Tennessee Regional Symphony, East Texas Symphony Orchestra, Erie Philharmonic Orchestra, Ft. Collins Philharmonic, Fort Wayne Philharmonic, Fresno Philharmonic, Grand Rapids Symphony Orchestra, Greater Lansing Symphony Orchestra, Green Bay Civic Orchestra, Hartford Symphony Orchestra, Kansas City Symphony, Lincoln Symphony Orchestra, Louisiana Philharmonic Orchestra, Long Beach Symphony, Maryland Symphony Orchestra, Mid-Columbia Symphony Orchestra, Milwaukee Symphony Orchestra, Nashville Symphony Orchestra, National Symphony Orchestra, Napa Valley Opera House, New Jersey Symphony Orchestra, North Carolina Symphony Orchestra, Omaha Symphony Orchestra, Oklahoma Mozart Festival, Oregon Symphony Orchestra, Orlando Philharmonic Orchestra, Peoria Symphony Orchestra, Philadelphia Orchestra, Phoenix Symphony, Portland Symphony Orchestra, Quincy Symphony Orchestra Association, Reading Symphony

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Orchestra, Reno Philharmonic/Reno is Artown Festival, Rhode Island Philharmonic Orchestra, Richmond Symphony Orchestra, Ridgefield Symphony Orchestra, St. Paul Chamber Orchestra, San Diego Symphony Orchestra, Sarasota Orchestra, Seattle Symphony Orchestra, Syracuse Symphony Orchestra, Toledo Symphony Orchestra, Virginia Symphony, West Virginia Symphony Orchestra, Wheeling Symphony Orchestra, and York Symphony Orchestra.

Upcoming Performances 2011-2012 Season The Cleveland Orchestra, Singapore Symphony Orchestra, The Philadelphia Orchestra, Colorado Symphony Orchestra, North Carolina Symphony, The Phoenix Symphony, Vancouver Symphony Orchestra, Kansas City Symphony, The Richmond Symphony, Toronto Symphony Orchestra, Santa Barbara Symphony, Winnipeg Symphony Orchestra, The Fresno Philharmonic, The Lima Symphony Orchestra, Heartland Festival Orchestra, Neptune Theatre, York Symphony Orchestra, Fort Collins Symphony Orchestra, Stichting Educatieve Orkest Projecten in the Netherlands, and the Oistrach Symphony Orchestra in Chicago.

achievements XXCompleted more than 1,000 concert performances and over 400 collaborations with distinguished orchestras. XXServed over 2 million children and their parents, with a large percentage of audience attendees from under-served communities. XXPerformed with many of the most acclaimed orchestras in the nation, including The Cleveland Orchestra, National Symphony Orchestra, The Philadelphia Orchestra, Chicago Symphony Orchestra, and Baltimore Symphony Orchestra. XXRecognized nationally as a prominent leader in the field of music education and a concert programming cornerstone by major orchestras throughout North America. XXPerformed internationally with the Malaysian Philharmonic Orchestra in Kuala Lumpur, the Singapore Symphony Orchestra in Singapore, the Stichting Educatieve Orkest Projecten in the Netherlands, and with the National Youth Symphony of Great Britain at the Beijing Music Festival. XXDeveloped the Mozart's Magnificent Voyage production to honor Mozart's 250th birthday. XXReceived not for profit 501(c)(3) status by the IRS in 2009. XXSecured three grants totaling $25,000 within its first two years as a non-profit organization. XXRecently launched a multi-year individual giving campaign that has already received support from approximately 30 donors.

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CKME STRATEGIC PLAN / 2011-2015


Analysis STRENGTHS Artistic XXFour fully-developed productions: Beethoven Lives Upstairs, Mozart's Magnificent Voyage, Tchaikovsky Discovers America, and Vivaldi's Ring of Mystery. XXStrong performance history with over 400 orchestras serving over 2 million children. XXEight years of producing the productions has led to a deep understanding of each production and the needs of collaborators. XXEnhanced artistic elements and production properties, including props, costumes, musical scores/parts, lighting design, and technical requirements. XXEstablished access to production creators, including writers, directors, music publishers, and costume/wig/prop designers. XXGroup of trained, professional actors and stage managers. XXLong-standing connections with many of the most highly-acclaimed orchestras in the US and Canada. XXRecognition by national orchestras regarding the quality of our productions, the efficiency of the process, and the professionalism of our actors and stage managers.

Administrative XXOrganizational structure in place to support current and future projects (e.g. documents, performance agreements, software, furniture, performance coordination applications, and office equipment). XXPool of committed volunteers and advisors.

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Marketing XXEstablished web presence with 2 websites - one specific to orchestral collaborators, the other specific to overall organizational activities. XXIn-depth marketing practices in place. XXStrong marketing/brand recognition. XXGroup of loyal orchestras that continue to book productions on a regular basis. XXMuch of marketing presence is provided by orchestral collaborators. XXPublic exposure provided by Classical Kids recordings and merchandise.

Financial XXContinued revenue from orchestral collaborations. XXGrowing revenue from grants and individual giving campaigns. XXRevenue from orchestral collaborations has increased dramatically since first year. XXOverall bookings have increased. XXMore orchestras booking multiple performances.

Development XXGrant writing system/schedule is in place. XXIndividual giving campaign and donation support programs are in place.

Education XXAccess to National standards-based educational curricula that support the productions.

National Perception XXRecognized for having high-quality productions (e.g. "They set the standard," "Best performed shows we do.") XXEasy and fun to work with, flexible. XXTurn-key programs (e.g. "Complete peace of mind in working with them.") XXVery professional (e.g. "Most professional we work with.") XXHigh quality of music scores and parts. XXEfficiency (e.g. "No time wasted in rehearsal," "Great with the details.")

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WEAKNESSES Artistic XXNeed to develop new productions and enhance current production elements. XXFocus of organization is primarily on presenting Classical Kids productions. XXLack of dedicated rehearsal space; currently paying for studio rehearsal rooms. XXMust pay royalty fees for performance rights to Classical Kids titles/stories. XXNeed to raise artist salaries.

Administrative XXLimited staff to handle all functions of non-profit; 1 full-time & 1 part-time employee. XXLack of dedicated professional office and storage space. XXSome board members are unable to devote time and/or resources to the organization.

Marketing XXLocal reach is weak; better known nationally. XXNeed for expanded national marketing; some orchestras still not familiar with CKME.

Financial XXLarge amount of financial debt. XXProduction fees are already high for many orchestras; cannot be raised. XXMany orchestras unable to afford cost of productions despite strong interest.

Development XXNo dedicated staff member dealing with development.

Education XXLack of interactive online experience. XXNo dedicated staff member dealing with education.

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National Perception XXProductions are expensive. XXNeed new production offerings. XXExpressed need for longer musical excerpts with less dialogue over the music. XXMany orchestras produce educational concerts in house. XXSome orchestras prefer less theatrically-based educational programs. XXPrograms not multi-cultural and may not relate to current interests of students and educators. XXNeed to expand range of composers, including more recent and American composers. XXDisconnect between Classical Kids recordings and live performances. XXHard to sell productions that cater to multiple age groups. XXNeed to incorporate pre-concert activities that tie into concert.

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OPPORTUNITIES Artistic XXMatching interests for collaborative opportunities with the Oistrach Symphony Orchestra. XXNew production offerings due to access to additional Classical Kids stories, including Mr. Bach Comes to Call and Hallelujah Handel!.

Administrative XXPartnership possibilities with a Chicago community that provides CKME operations space.

Marketing XXRaise local presence through Chicago collaborations. XXIncrease bookings with overseas market reach.

Financial XXIncrease program revenue through funding opportunities.

Development XXUse funding opportunities to lower fees and satisfy orchestra needs for lower cost. XXContinued general operations/grant funding growth. XXContinued donor/sponsor support growth.

Education XXCommunity interest in early childhood music classes and resources. XXUntapped rural music education market.

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THREATS Artistic XXProductions not affordable for smaller orchestras. XXLack of new production offerings. XXCompeting family and educational concert programming/guest artists. XXMany orchestras produce educational concerts in-house. XXSome orchestras prefer less theatrical productions and longer excerpts with less dialogue over music.

Administrative XXUndefined future relationship between organization and Classical Productions for Children, Ltd., which holds performance licensing rights with Paul Pement.

Marketing XXOrganization is better known nationally than locally.

Financial XXFinancial downturn has reduced ability of many orchestras to afford production fees. XXIncreasing costs of producing orchestral collaborations.

Development XXFunding cuts at local and national levels, especially due to poor economy. XXDonor and sponsor reluctance to give support due to recession. XXLack of local presence impedes ability to secure local funding. XXDifficult to secure national funding as a non-presenter/guest artist.

Education XXLack of resources to hire dedicated education staff and create programming.

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Objectives Objective 1 Establish a strong Chicago-area presence benefitting local communities, schools and organizations. Strategy Create new collaborative opportunities with local orchestras and arts organizations throughout the Chicago area as part of the new Music Inspires! project initiative. (See detail in Appendix D: Current Projects - Music Inspires!.) GOALS 1. Make quality concert production performances available to underserved students at 3 Chicago public elementary schools the first year, followed by an additional 3 schools each year for 5 years. 2. Make quality concert production performances available to family audiences in 3 Chicago communities each year for 5 years. 3. Offer professional performance experience to young musicians with new performance degrees. 4. Motivate young people through music's unique contribution to whole school development and community regeneration. (Note: Informed by data presented in Appendix F: ACG Research - Attachment 2: The Market - Local/Regional, pages 3-17 and Appendix F: ACG Research - Attachment 5B: External Stakeholder Findings, pages 48-59.)

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objective 2 Establish a community home with space to offer early childhood music education classes and music resources. Strategy Use increased philanthropic and community support to offer Music Together classes as well as offer Classical Kids merchandise and music education resources. (See detail in Appendix D: Current Projects - Music Together.) GOALS 1. Introduce children to the joy of making music. 2. Help families rediscover the pleasure and educational value of informal music experiences. 3. Bring families together by providing a rich musical environment and by facilitating family participation in spontaneous musical activity within the context of daily life. (Note: Informed by data presented in Appendix F: ACG Research - Attachment 2: The Market - Local Regional, pages 3-17 and Appendix F: ACG Research - Attachment 5B: External Stakeholder Findings - Local/Regional, pages 48-59.)

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objective 3 Increase national programming collaborations with more orchestras in order to reach more children. STRATEGY Obtain funding through sponsors and grants that will allow production affordability for all levels of orchestras, both regionally and nationally, as part of the new Every Orchestra, Every Child project initiative. (See detail in Appendix D: Current Projects - Every Orchestra, Every Child.) GOALS 1. Significantly increase the number of orchestras presenting Classical Kids Live! and the number of children and parents being served. 2. Expose children to classical music through direct access to culturally significant venues, professional artists, organizations, and productions. 3. Create a stronger "bridge" between orchestras and future audiences through outstanding multi-arts presentations. (Note: Informed by data presented in Appendix F: ACG Research - Attachment 3: The Market - National, pages 18-30 and Appendix F: ACG Research - Attachment 5A: External Stakeholder Findings - National, pages 36-47.)

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objective 4 Develop a comprehensive distance learning opportunity that will allow all children, especially those in rural areas, to participate in CKME programming. STRATEGY Seek future funding opportunities to launch the Classical Kids Music Academy, an online music education classroom headed by a newly created Education Director position. The Music Academy will serve orchestral collaborators and their school constituents as well as rural schools without access to symphony orchestras. (See detail in Appendix D: Current Projects - Classical Kids Music Academy.) GOALS 1. Educate children in areas without access to orchestras about the lives and music of Beethoven, Tchaikovsky, Vivaldi, and Mozart. 2. Contribute to the education and quality of life of children and families across cultural and economic boundaries. (Note: Informed by data presented in Appendix F: ACG Reseach - Attachment 4: Media & Technology Usage, pages 31-35.)

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objective 5 Create new program offerings while adding artistic enhancements to current productions. STRATEGY Develop grant strategies in conjunction with Create Anew, a project that seeks specific funding opportunities that will support new production creation demands, production element revitalization, artist pool expansion, and overall production producing activities. (See detail in Appendix D: Current Projects Create Anew.) GOALS 1. Provide orchestral organizations with new programming opportunities and high artistic values. 2. Increase the number of orchestras presenting Classical Kids Live! and the number of children and parents being served. (Note: Informed by data presented in Appendix F: ACG Research - Attachment 5A: External Stakeholder Findings - National; pages 36-47.)

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Actions 2011 XXCreate Every Orchestra, Every Child national initiative and Music Inspires! local initiative. (See detail in Appendix D: Current Projects - Every Orchestra, Every Child.) XXIdentify national collaborating orchestras for Every Orchestra, Every Child and engage local collaborating organizations, Oistrach Symphony Orchestra & Chicago Opera Theatre, for Music Inspires!. (See detail in Appendix D: Current Projects - Music Inspires!.) XXSeek out and apply for grants for Every Orchestra, Every Child and Music Inspires!, as well as for general operations and artistic enhancements. XXDevelop the Hallelujah Handel! orchestra rental offering, identify premiering orchestras, and seek grant funding for the project. (See detail in Appendix D: Current Projects Hallelujah Handel!.) XXContinue expanding individual giving campaign.

2012 XXLaunch Every Orchestra, Every Child national initiative and Music Inspires! local initiative. XXLaunch Hallelujah Handel! as part of the Create Anew project initiative. XXCreate and implement board building development plan. (See detail in Appendix E: Organization - Board Planning.) XXAssess grant writing/sponsorship/giving strategies and implement changes. (Strategies refers to funding opportunities for new and ongoing projects, programming, general operations & artistic enhancements.) XXDevelop the Mr. Bach Comes to Call fully-produced offering, identify premiering orchestras, and seek grant funding for the project. (See detail in Appendix D: Current Projects - Mr. Bach Comes to Call.)

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2013 XXHire Executive & Development Director / Paul Pement shifts to Founder & Creative Director position. (See detail in Appendix E: Organization - Positions - Founder and Creative Director and Appendix E: Organization - Positions - Executive and Development Director.) XXPromote Business Manager to full-time position. (See detail in Appendix E: Organization - Positions - Business Manager.) XXFocus on Volunteer Expansion. (See detail in Appendix E: Organization - Volunteer Expansion.) XXLaunch Mr. Bach Comes to Call as part of the Create Anew project initiative. XXAssess grant writing/sponsorship/giving strategies and implement changes. (Strategies refers to funding opportunities for new and ongoing projects, programming, general operations & artistic enhancements.)

2014 XXMove into new Community Home with office, classroom, rehearsal, storage, and retail space. (See detail in Appendix D: Current Projects - Music Together.) XXBegin Music Together Classes with instructor Cory Goodrich. (See detail in Appendix D: Current Projects - Music Together.) XXAssess grant writing/sponsorship/giving strategies and implement changes. (Strategies refers to funding opportunities for new and ongoing projects, programming, general operations & artistic enhancements.)

2015 XXHire Education Director. (See detail in Appendix E: Organization - Positions - Education Director.) XXLaunch Classical Kids Music Academy. (See detail in Appendix D: Current Projects Classical Kids Music Academy.) XXAssess grant writing/sponsorship/giving strategies and implement changes. (Strategies refers to funding opportunities for new and ongoing projects, programming, general operations & artistic enhancements.)

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Conclusion We believe strongly in our ability to better the world through the power of music and are committed to taking the necessary steps in seeing that our future impact fulfills our newly focused mission, vision, values and goals. For this reason, CKME looks forward to the implementation of its new comprehensive strategic plan and has already moved forward in developing specific plans and objectives as they relate to increasing local Chicago collaborations and programming as well as lowering booking fees for collaborating national orchestras in need. CKME has addressed two major strategic objectives identified during its planning process and agreed on final initiatives to (1) make performance collaborations more affordable, especially for smaller, struggling orchestras, and (2) increase Chicago-area performance collaborations with local arts organizations for performances to at-risk students and families in under-served communities. These strategic initiatives have been met with enthusiasm from orchestral organizations across the country as well as local grant foundations and Chicago arts organizations. The plan for CKME also includes new program strategies for the symphony concert series designed to allow the productions to reach more children and families around the world. Staff increases

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and related office needs will provide the necessary operational foundation for success. Securing funding from foundations, government agencies, corporations, and individuals and directing it in ways to make the concert series more affordable to symphony orchestras will help to make music, theatre, and art accessible to more children, increase the quality of life in under-privileged communities, and support the long-term health of classical music. The outcome of the strategic planning process delivers a comprehensive plan that identifies the organization's strategic direction, program priorities, and collaborative partnerships, and guides the organization's activities over the next five years. The planning process has examined past experiences, explored the organization's current operating environment, gathered perceptions of key internal and external stakeholders, defined key future issues, developed consensus on priorities to address these future issues, and has determined actionable steps to address these findings. Special thanks to the Arts Work Fund for their generous financial support of this strategic planning process.

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A: Personnel Board Members GARY GRIFFIN

COLETTE KRONTZ

Gary Griffin is an internationally distinguished stage director of Regional, Broadway and London productions. He is Associate Artistic Director of Chicago Shakespeare Theatre, has received eight Joseph Jefferson Awards for directing, and has twice been named a "Chicagoan of the Year in the Arts" by the Chicago Tribune. He currently enjoys success with his Broadway hit The Color Purple.

Colette Krontz is an industrial/organizational psychologist concentrating her efforts in the area of program evaluation consultation for educational programs. She received the Governor's Award for Volunteer Service and serves on the board of Watauga Education Foundation, supporting work on grant funding for classroom enrichment and professional development.

ALAN SALZENSTEIN

PAUL PEMENT

Alan Salzenstein is an arts administrator, educator, theatrical producer, consultant and attorney. He has served as Executive/Managing Director of many Chicagoarea arts organizations and is currently serving as professor for the Arts Management Program at DePaul University's School of Music where he also heads the MFA/Arts Leadership Program.

Paul Pement has gained extensive theatrical experience performing in or directing over 50 professional productions throughout Chicago and abroad. He currently serves as the executive and artistic director of Classical Kids Music Education and directs the acclaimed Classical Kids symphony concert series.

JAN KALLISH Jan Kallish is an independent producer and consultant involved in a diverse set of projects that range from Broadway to feature film. She has served as the Executive Director of Chicago's Auditorium Theatre and as CEO of the Nederlander Broadway China joint venture. She is the Exec. Dir. of Victory Gardens Theatre and an adjunct faculty member at DePaul.

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Creative Team PAUL PEMENT

BARBARA NICHOL Classical Kids Live! Director & Producer

Paul serves as the director and producer of the highlyacclaimed Classical Kids Live! symphony concert series that includes Beethoven Lives Upstairs, Tchaikovsky Discovers America, Vivaldi's Ring of Mystery, Hallelujah Handel! and Mozart's Magnificent Voyage. Paul received a BFA in Acting from the University of Illinois and, as a long-time member of Actor's Equity Association, has gained extensive theatrical experience performing in, directing and/or choreographing over 50 professional productions throughout Chicago and abroad.

SUSAN HAMMOND Classical Kids Series Creator Susan is the executive producer of a 16 title series of children's classical music recordings known collectively as Classical Kids, selling to date nearly 5 million CDs, DVDs and books worldwide, and earning over 100 prestigious awards and honors. Susan is the recipient of Billboard Magazine's International Achievement Award and is a member of the Order of Canada for her contribution to the arts.

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Author of Beethoven Lives Upstairs Barbara won the Juno award for the recording of Beethoven Lives Upstairs, was awarded a Genie for Best Short Film for Home for Blind Women and was nominated for an Emmy for her work with Sesame Street. Her book Dippers was a finalist for the Governor General's Literary Award, and Biscuits in the Cupboard won the Mr. Christie's Book Award.

Douglas Cowling Playwright/Music Editor: Mozart's Magnificent Voyage, Tchaikovsky Discovers America and Vivaldi's Ring of Mystery Douglas is the writer of five Classical Kids audio productions: Mozart's Magic Fantasy, Tchaikovsky Discovers America, Vivaldi's Ring of Mystery, Hallelujah Handel! and Mozart's Magnificent Voyage. Mr. Cowling serves as the principal writer/music editor for the Classical Kids Live! theatrical symphony concert series.

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Administration PAUL PEMENT CKME Executive & Artistic Director As executive and artistic director of Classical Kids Music Education, NFP, Mr. Pement assumes the overall leadership role in guiding all administrative, program, and financial activities of the organization as well as artistic aspects of the theatrical concert productions and development of new music education projects.

SETH PARKER Business Manager/Graphic Designer As Business Manager of Classical Kids Music Education, NFP, Seth executes financial and administrative operations, graphic design, and information technology. Mr. Parker holds a Bachelor's degree from the University of Otago in New Zealand and a Masters degree from the University of Illinois, Chicago.

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Symphony Orchestras Conductors, Musicians & Staff Classical Kids Live! tours the US and abroad in collaboration with hundreds of distinguished symphony orchestras. Classical Kids Music Education typically contracts performances with 20 orchestras each season, many of which are recurring collaborating partners. As an example, CKME performs with the prestigious National Symphony Orchestra, Philadelphia Orchestra, Cleveland Orchestra, and Toronto Symphony Orchestra just to name a few (Pictured below are Actors Natalie Berg and Jeff Kuhl performing with the acclaimed Cleveland Orchestra conducted by Andrew Grams).

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Actors & Stage Managers (A selection from our pool of over twenty artists)

Jeff Kuhl

Natalie Berg Uncle in Beethoven Lives Upstairs; Vivaldi/Giovanni in Vivaldi's Ring of Mystery

Jeff is thrilled to be an ongoing part of the Classical Kids concert series performing the role of Uncle in Beethoven Lives Upstairs as well as Vivaldi in Vivaldi's Ring of Mystery. Chicago and regional credits include: at Drurylane Oakbrook; Scrooge in Christmas Carol, Major-General in Pirates of Penzance and Charles Thomson in 1776. At the Mariott Theatre; Mr. Sowerbury in Oliver, Sal Minetti in Victor Victoria, Moe in Sunset Boulevard and Marc Robin's Beauty and the Beast (the latter of which also premiered at Carousel Dinner Theatre). Reprising his role as Otto Kringelein in Grand Hotel at Drurylane Water Tower won Jeff the 2006 Chicago Jeff Award for best actor. The same role won him Chicago's After Dark Award for his performance at Theatre at the Center where he's also played Dexter in Singin' in the Rain, Abel Frake in State Fair, Honore' Lachailles in Gigi and Papa Smith in Meet Me in St. Louis. Other roles include Koko in Mikado at Light Opera Works, Herr Schulz in Cabaret at Candlelight and Jacob/Potiphar in the Royal George and road tour productions of Joseph and the Amazing Technicolor Dreamcoat. A Tenor soloist and choral arranger, Mr. Kuhl holds a Masters in Music and Opera/Theatre Performance and is the recipient of Indiana's Anthony and Margaret Ann Keegan Awards for achievement in Theatre Arts-in-Education. Jeff dedicates his Classical Kids performances in memory of his Dad and Mom - his biggest fans.

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Christoph in Beethoven Lives Upstairs; Karl in Mozart's Magnificent Voyage; Jennie in Tchaikovsky Discovers America; Katarina in Vivaldi's Ring of Mystery Natalie has been seen throughout the United States and Canada in all four productions of the Classical Kids Symphony Concert Series and in 2006 had the pleasure of performing in Kuala Lumpur with the Malaysian Philharmonic. She recently starred in the critically acclaimed Chicago Children's Theatre production of The Hundred Dresses at the Royal George Theatre and the North Shore Center for the Performing Arts. Other recent credits include the hit comedy Ruthless!, and the Chicago premier of Bingo, the Musical. Ms. Berg made her professional debut in the Broadway National Tour of Les Miserables as Young Cosette. Other credits include: High School Musical, Little Women, Meet Me in St. Louis, A Christmas Carol, Charlotte's Web, Pinocchio, Annie Get Your Gun, Little Shop of Horrors, Hair, The Man Who Came to Dinner, The Sound of Music and Annie Warbucks world premier. You may have seen her on TV as a cheerleader in a recent Sears commercial and her latest recordings include Kraft Mac 'n' Cheese, The Children's Bible and the Twilight Zone. As a singer Natalie has performed in Jazz Bands and Jazz Quartets throughout the Chicagoland area. She earned her Music Degree from Illinois Wesleyan University and is a proud member of Actors' Equity, SAG and AFTRA. She thanks God for her family, friends, and Julius Meinl Coffee!

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Roger Anderson Tchaikovsky in Tchaikovsky Discovers America Roger Anderson is a nationally acclaimed actor and musical theatre artist based in Chicago and is proud to be a part of the acclaimed Classical Kids concert series. He has been featured in films and commercials for United Airlines, Sony, Microsoft, IBM, Volvo, Ford Motor Company, Fidelity Investments, S.C. Johnson, Colgate, and the New York Stock Exchange. He has had the privilege to work on musical theatre stages across the country with Patti LuPone, Audra MacDonald, David Hyde Pierce, Michael Cerveris, and Sean Hayes as well as under the baton of Zubin Mehta and Andre Previn. His performances have included appearances at The White House, The Kennedy Center, Walt Disney World and the Ravinia Festival. Regional musical theatre credits include: Juan Peron in Evita, Jacob/Potiphar in Joseph and the Amazing Technicolor Dreamcoat, Harold Hill in Music Man, Barnum in Barnum, KoKo in The Mikado, Petruchio in Kiss Me Kate, Georges in La Cage Aux Folles, Sergeant of Police in Pirates of Penzance and Roger DeBris in The Producers. He currently sings with the Chicago based vocal group Table For Five and, along with his career as an actor, is a practicing Speech/Language Pathologist.

Nicole Hren Jennie in Tchaikovsky Discovers America; Katarina in Vivaldi's Ring of Mystery Nicole is thrilled to perform with Classical Kids in both Vivaldi's Ring of Mystery and Tchaikovsky Discovers America. Credits include The Radio City Christmas Spectacular in Atlanta, Orlando, and Nashville, Seven Brides for Seven Brothers (Alice), The King and I, at the MUNY Theater in St. Louis, Beauty and the Beast, Swing!, Treasure Island, at

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the Marriott Theater in Lincolnshire, IL, and Fiddler on the Roof (Chava), Kiss Me Kate, Camelot, Superman, and Meet Me in St. Louis (Lucille Ballard) at Drury Lane Theater in Oakbrook, IL, Chicago at Pheasant Run Dinner Theater, Singin' in the Rain at the Chicago Center for the Performing Arts, and Association, The Musical at the Arie Crown Theater in Chicago's McCormick Place. Nicole performed for many years with Moraine Valley Theater for Young Audiences as an artist in residence in the following productions: The Little Mermaid, The Velveteen Rabbit, Babes in Toyland, Cinderella, The Odyssey, and The Diary of Anne Frank.

Chris Petschler Uncle in Beethoven Lives Upstairs; Mozart in Mozart's Magnificent Voyage; Vivaldi/ Giovanni in Vivaldi's Ring of Mystery Chris worked extensively on stage in the Chicago area for over ten years before moving to Los Angeles, where he now resides full time. While in Chicago, he played many leading roles at several prominent theaters, including Marc Antony in Julius Caesar, Jacob Marley in A Christmas Carol, and Christopher Wren in The Mousetrap. He also met Paul Pement and was lucky enough to become a part of these remarkable live productions by Classical Kids Music Education. On camera, he has worked on many commercials for TV and radio; performed as a guest star in a sitcom produced by the Second City called A Credit to the Family; and most recently played a small role in Batman: The Dark Knight, the major motion picture directed by Christopher Nolan. Chris currently enjoys a high-profile position working out of L.A. as a specialty presenter and narrator at international auto shows for Toyota. Thanks to Paul and Susan for the amazing opportunities and to all my "kids" (Burger, Andrew, Alex, Johanna, and Kristen.) And HUGE thanks to all who are involved in bringing such great groups of kids to the symphony and exposing them to this inspiring music!

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Thad Avery Uncle in Beethoven Lives Upstairs; Tchaikovsky in Tchaikovsky Discovers America Mr. Avery has been fortunate to perform in a variety of projects around the world. He is based in Chicago, IL with his wife Cheryl, and two children, Spencer and Grace. A proud union member of all three performing unions his first professional show was with Milwaukee Repertory Theatre. He received his training from Wayne State University in Detroit, MI. There he performed in a number of shows ranging from the Classics to many musicals. After graduation, he was a company member of Utah Shakespearean Festival and traveled around the world with an international comedy troupe. The troupe was featured at World Entertainment in Japan and also at the Wintergarten in Berlin. When Thad returned home he started a long and rewarding relationship with the musical, Forever Plaid. The production took him from Door County, WI to the first national tour, Las Vegas, and back home to Chicago. Other appearances in Chicago include: I Love You, You're Perfect, Now Change, The Wizard of Oz, Charlotte's Web, Alice in Wonderland, and The Nutcracker. Special thanks to my mentor, the late Robert Hazzard, for his guidance.

Andrew Redlawsk Christoph in Beethoven Lives Upstairs; Karl in Mozart's Magnificent Voyage Andrew, now in his fourth season with Classical Kids, plays both Christoph in Beethoven Lives Upstairs and Karl in Mozart's Magnificent Voyage. Originally from Iowa City, Iowa, he is a graduate of Loyola University in Chicago and currently resides in New York City. New York credits include: The Bowery Boys (NAMT),

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Together This Time (NYC Fringe), and Assassins and Godspell with Momentum Repertory Company. Regional credits include: A Christmas Carol (Drury Lane Oakbrook), The Lieutenant of Inishmore (Northlight Theatre), The Bowery Boys (Marriott Theatre), and Twelfth Night (Riverside Theatre Shakespeare Festival). Andrew would like to thank his family and friends for all their love and support.

Joe Lehman Uncle in Beethoven Lives Upstairs; Mozart in Mozart's Magnificent Voyage; Vivaldi/Giovanni in Vivaldi's Ring of Mystery Joe has been seen playing roles in three of the four Classical Kids productions in cities throughout North America. A proud member of Actors' Equity Association, he has performed on many Chicago stages from Drury Lane Oakbrook and Apple Tree Theatre, to First Folio and Shaw Chicago, to the Illinois Theatre Center and Light Opera Works among others. A sampling of his regional work includes performances with Madison Repertory Theatre, Jewish Ensemble Theatre, Great Plains Theatre, Greenbrier Valley Theatre, Oklahoma Shakespeare Festival, The Human Race Theatre, and Stage One. Joe holds a BFA in Theatre from the University of Toledo and is the Founder and Artistic Director of the Inconceivable Theatre.

Elic Bramlett Mozart in Mozart's Magnificent Voyage Elic joined Classical Kids during the 200506 season with tours in the US, Canada and Malaysia. A native of Phoenix, AZ, he now makes his home in the suburbs of Chicago. Stage credits include: The Boys are Coming Home (Workshop) at The Goodman Theatre; Western Civilization with Noble Fool; Teapot Scandals, Elegies, Sweeney Todd, Macabaret, Hereafter, and Three Sisters at

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Porchlight Music Theatre; Musical Comedy Murders of 1940, Charlotte's Web, and Cinderella at Drury Lane Theatre; The Bomb-itty of Errors at Royal George Theatre; and Saturday Night with Pegasus Players, and Music Man at Marriott Theatre. Elic has played the roles of Jinx, Frankie, and Sparky in Forever Plaid at various theatres across the U.S. including Chicago's Royal George production. Elic also makes his living as a TV/Film and voice-over actor, director, and teacher in the Chicagoland area. He would like to dedicate this performance to his loving and supportive wife Carrie Beth, and their beautiful children, Pearle and Theodore.

Johanna McKenzie Miller Jennie in Tchaikovsky Discovers America; Katarina in Vivaldi's Ring of Mystery Johanna is one of Chicago's most sought after singing actors and originated the roles of Jennie and Katarina for Classical Kids Live! during its first producing season in 2003-04. Recent credits include Marion in the Music Man at Marriott Theatre, Gillian/Magda in Rock 'N' Roll at the Goodman Theatre, Mrs Sorby in The Wild Duck and Julie Jordan in Carousel at the Court Theatre, and Christine in Phantom at Theatre at the Center. Johanna has appeared in many productions at the Marriott Theatre, Chicago Shakespeare Theatre, Drury Lane Oakbrook Theatre, Lyric Opera of Chicago, Utah Festival Opera, Ravinia Festival, and Chicago Children's Theatre.

Dawn Fenton Stage Manager for Beethoven Lives Upstairs, Tchaikovsky Discovers America, and Vivaldi's Ring of Mystery Dawn resides in Chicago where she is the production stage manager for Blue Man Group while also offering her services as stage manager for Tchaikovsky Discovers America,

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Vivaldi's Ring of Mystery and Beethoven Lives Upstairs. Ms. Fenton was lucky to work in regional theatre for over 10 years. Some highlights include: Joseph and The Amazing Technicolor Dream Coat at the Royal George Theatre in Chicago; Blues For An Alabama Sky, Two Trains Running, Twelve Angry Men and Love, Janis at the Cleveland Play House. She also stage managed and assistant stage managed extensively with the Arizona Theatre Company for Two Gentlemen Of Verona, Seven Guitars, Noises Off and the world premiere of Dracula and Private Eyes by playwright Steven Dietz. Ms. Fenton stage managed Lynn Redgrave's one woman show, Shakespeare For My Father, in both Tucson and Phoenix. Other regional theatre collaborations include: Arkansas Repertory Theater, New Harmony Theater and over 20 musicals with Seaside Music Theater.

Steve Hiltebrand Stage Manager for Beethoven Lives Upstairs, Tchaikovsky Discovers America, and Mozart's Magnificent Voyage Steve has served as production stage manager for all the Classical Kids Live! productions and has also played the role of Uncle in Beethoven Lives Upstairs. As an actor he has been featured in the Broadway National Tours of The Best Little Whorehouse in Texas, Dreamgirls and Starlight Express, and has a major history with the role of Reuben in Joseph and the Amazing Technicolor Dreamcoat both in Chicago and on the road. Steve has performed in numerous theatres across the US and Europe in productions that include Little Shop of Horrors, Oklahoma!, South Pacific, Man of La Mancha, Seven Brides for Seven Brothers and has also played in a variety of theatre for young audience shows including Beauty and the Beast, Alice in Wonderland and Snow White and the Seven Dwarfs. Steve resides in Chicago where he balances his time between performing, producing and directing.

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B: Productions beethoven lives upstairs Summary The world famous production of Beethoven Lives Upstairs features a lively exchange of letters between young Christoph and his uncle. Their subject is the "madman" who has moved into the upstairs apartment of Christoph's Vienna home. Through a touching correspondence dramatically underscored with the composer's most beautiful excerpts, Christoph comes to understand the genius of Beethoven, the beauty of his music, and the torment of his deafness. Audiences are captivated by more than twenty-five excerpts of the master's music, including the Moonlight Sonata, Fur Elise, and the great Fifth and Ninth Symphonies. The music is magically woven into the drama as two actors share their anecdotes and observations based on true incidents from the composer's life. Presenting history, drama, music and fun, this engaging concert is an ideal addition to any children's education program or family concert series. The performance is approximately 50 minutes in length and is recommended for audiences age six and up.

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Synopsis The funereal second movement of Beethoven's Seventh Symphony sets the scene as we travel back in time from March 26, 1827, the day of Beethoven's death, into the more intimate setting of young Christoph's house in Vienna a few years before. Christoph's father has just died and Beethoven has taken the room upstairs.

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As the correspondence with his uncle unfolds, Christoph recounts the horrors of the composer standing at the window wearing no clothes, water dripping down into their apartment, and Beethoven playing late into the night. Finally, after attending the famous first performance of the Ninth Symphony, Christoph has a new understanding of Beethoven's tormented genius and leaves us with these simple words of hope and renewal as the Shepherd's Song is played. "Mr. Beethoven wanted to change the world with his music. Maybe he will do it, bit by bit. (sung) His song seemed to tell me that soon it would be Spring."

XXNel Cor Piu XXBass Sting

Music Excerpts

XXRage Over a Lost Penny XXSymphony No. 6 (Tremolo)

XXSymphony No. 7, Mvmt. II

XXSymphony No. 9 (Ode to Joy)

XXSymphony No. 5, Mvmt. I

XXSymphony No. 9 (Finale)

XXPiano Sonata in E Major

XXPiano Sonata

XXSymphony No. 1, Mvmt. IV

XXShepherd's Song

XXRomance for Violin and Orchestra in G Major XXPathetique

Booking History

XXSymphony No. 9, Mvmt. II

CANADA

XXSonata, Op. 14, No. 2

XXOrchestral Polonaise

Calgary Philharmonic Orchestra, Le Conservatoire de musique de la Monteregie (Quebec), Edmonton Symphony, Orchesta London Ontario, Orchestre Symphonique de Quebec, Toronto Symphony Orchestra, Vancouver Symphony Canada, Winnipeg Symphony Orchestra, Victoria Symphony Orchestra, Neptune Theatre (Halifax, Nova Scotia), and Geordie Productions (Montreal, Quebec)

XXSonata, Op. 27, No. 2 (Moonlight)

SINGAPORE

XXMozart Variations

Singapore Symphony Orchestra

XXSymphony No. 6, Mvmt. I

MALAYSIA

XXSymphony No. 6 (Birds)

Malaysian Philharmonic Orchestra

XXSymphony No. 4, Mvmt. II XXMinuet in G Major XXSpring Sonata XXSymphony No. 8, Mvmt. II XXLeonore Overture No. 3 XXF端r Elise

XXSymphony No. 6 (Storm) XXPiano Concerto No. 1 XXPiano Concerto No. 5

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NETHERLANDS Stichting Educatieve Orkest Projecten

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UNITED STATES

Orchestra Feedback

American Classical Orchestra, Ann Arbor Symphony Orchestra, Atlanta Symphony, Augusta Symphony Orchestra, Binghamton Philharmonic, Buffalo Philharmonic Orchestra, Cerritos Center for the Performing Arts (Cerritos, CA), Charlotte Symphony Orchestra, The Cleveland Orchestra, The Cleveland Orchestra (Miami Residency), Colorado Symphony Orchestra, Colorado Music Festival, Columbus Symphony, Dallas Symphony Association, Detroit Symphony Orchestra, East Tennessee Regional Symphony, East Texas Symphony Orchestra, Erie Philharmonic, Ft. Collins Symphony Orchestra, Fort Wayne Philharmonic, The Fresno Philharmonic, Greater Lansing Symphony Orchestra, Green Bay Civic Symphony, Heartland Festival Orchestra, Hartford Symphony Orchestra, Kansas City Symphony, Lima Symphony Orchestra, Lincoln Symphony Orchestra, Long Beach Symphony, The Maryland Symphony, Mid-Columbia Symphony Orchestra, Milwaukee Symphony Orchestra, Modesto Symphony Orchestra, The National Symphony Orchestra, The Nashville Symphony, Omaha Symphony Orchestra, Oregon Symphony Orchestra, The Orlando Philharmonic Orchestra, Peoria Symphony Orchestra, The Philadelphia Orchestra, The Phoenix Symphony, Portland Symphony Orchestra, Reading Symphony Orchestra, Rhode Island Philharmonic Orchestra, Richmond Symphony Orchestra, Ridgefield Symphony Orchestra, St. Paul Chamber Orchestra, San Diego Symphony Orchestra, Santa Barbara Symphony Orchestra, The Sarasota Orchestra, Seattle Symphony, Syracuse Symphony Orchestra, West Virginia Symphony Orchestra, Wheeling Symphony Orchestra, and York Symphony Orchestra.

THE PHILADELPHIA ORCHESTRA "Thank you for two fantastic performances of Beethoven Lives Upstairs and for crafting such an artistic, educational, and entertaining enhancement for our series of School and Family Concerts. It's a delight to work with such creative and hard-working artists who bring a great deal of energy and enthusiasm to projects created for young listeners and their families/ teachers. Your organization and attention to detail, as well as your flexibility with the technical coordination logistics and scheduling, made this a truly smooth and enjoyable process. We've received a lot of positive feedback from children and adults, as well as the Orchestra musicians, and we hope to be able to take advantage of other Classical Kids LIVE! productions in the future." Ayden Adler (Dir.) & Jason Shadle (Mgr.) Education & Community Partnerships

“What a pleasure it was to work on this project. The production is very well thought out, well-paced, gives a wonderfully full picture of Beethoven's music and really connects with young people. Congrats to you all on very fine work!� David Hayes Assistant Conductor

THE CLEVELAND ORCHESTRA "You can't imagine how great it is to work with people who are so good at what they do - and to never have to worry about a thing. You all were so easy to work with and fun to be around. It was very collaborative professionally and comfortable personally - a wonderful mix and an overwhelmingly positive impression left on children and their families! Honestly, you are so well organized and all so professional, it is a complete pleasure to work with you. So thanks for everything and Bravo to you all!!" Joan Katz Napoli Director of Educational Programs

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Awards & Honors Audio Awards

CD-Rom Awards

XXJuno Award Best Children's Recording (Canada)

XXNational Parenting Publications Honors Award

XXParents' Choice Silver Honor

XXFilm Advisory Board Award of Excellence

XXAmerican Library Association Notable Children's Recording Award XXPractical Home Schooling Reader Award Music Curriculum Category & Educational Audiocassette Category XXFilm Advisory Board Award of Excellence

XXCurriculum Administrator Top 100 Districts' Choice Award XXKids First! Endorsement

Education Awards

XXParents' Choice Classic Award

XXCurriculum Administrator Top 100 Districts' Choice Award - Teacher's Notes

XXParent's Guide to Children's Media Award

XXLearning Magazine - Teacher's Choice Award - Teacher's Notes

XXCertified Gold Record (Canada)

XXPractical Home Schooling Association Notable Children's Recordings Teacher's Notes

XXCertified Platinum Record (Canada) XXSelected as Outstanding by Parent Council

Book Awards

XXTeacher's Choice Award Learning Magazine - The Classroom Collection Teaching Edition

XXGovernor-General's Award Finalist Illustration (Canada) XXCanadian Children's Book Centre Our Book Recommendation XXParents' Choice Gold Award of Excellence XXFilm Advisory Board Award of Excellence

Video Awards XXEmmy Award Best Children's Program XXParents' Choice Movie Hall of Fame Classic and Gold Awards XXDove Foundation Dove Family Approved Seal XXOppenheim Toy Portfolio Platinum Award XXFilm Advisory Board Award of Excellence XXGold Camera Award Best Children's Program and Best Direction XXCertified Multi-Platinum Video (Canada)

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Mozart's Magnificent Voyage Summary This popular newcomer in the Classical Kids series features Mozart's young son, Karl, who longs to be taken from his boarding school to spend more time with his famous father. An old travelling trunk serves as a magic chest that reveals an incredible journey back in time to Mozart's childhood and into the fantastic world of Mozart's great opera The Magic Flute. Along the way, Karl comes to understand Mozart's extraordinary life as a travelling prodigy, his pressures from family and fame, his passion for composing, and the common bonds they both share. Audiences will enjoy twenty three excerpts of the master's music, including themes from Mozart's operas The Marriage of Figaro and Don Giovanni, popular excerpts from The Magic Flute, and some of his most important and engaging works such as Ave Verum, Symphony No. 1, Clarinet Quintet, and Eine Kleine Nachtmusik. The music is magically woven into the drama as two actors recreate historical incidents from the composer's life. This mesmerizing concert and story performance is approximately 50 minutes in length and is an ideal addition to any children's education program or family concert series. This program is recommended for audiences age six and up.

Synopsis Mozart's young son, Karl, feels isolated and neglected from his experiences at boarding school. Wolfgang is experiencing his own pressures from family and fame. Their struggles act as a catalyst for sharing adventure and understanding as they discover the common bonds they both share. Watch this story come to life as Karl and his father relive young Wolfgang's meeting of the Queen of England and the Pope in Rome. From the

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Sistine Chapel to Carnivale there is much to learn much about the young prodigy's extraordinary life. But that's not all! Discover the great master's passion for composing as they embark on a magic journey into the world of The Magic Flute. Follow the Prince and Papageno as they try to rescue Princess Pamina from the Queen of the Night in Sarastro's enchanted castle. And see Karl's wish come true as his father takes him to a performance of the Magic Flute. This true father-son event confirms for Karl that he is well loved and that, although history will mark an early death for his father just two months later, he will always have him by his side through his timeless music.

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Music Excerpts XXMagic Flute, Overture XXClarinet Quintent, Mvmt. II XXSonata in C Major, Mvmt. I XXMagic Flute, Drei Knäbchen XXSymphony No. 1, Mvmt. I XXAllegro in B-flat XXMarriage of Figaro, Overture XXFlute Quartet in D, Mvmt. II XXMagic Flute, "Der Vogelfänger" XXMagic Flute, "O ew'ge Nacht" XXMagic Flute, "Wie stark" XXMagic Flute, Allegro/'Was Klinget' XXMinuet in G for Piano XXEine Kleine Nachtmusik, Mvmt. I XXAve Verum Corpus XXDon Giovanni, Act I Finale Minuet XXVariations on "Ah, Vous Dirai-je", Mvmts. I, II, IX and XII XXMagic Flute, "Marsch der Priester" XXMagic Flute, "Der Holle Röche" XXMagic Flute, March XXSonata in A Major, Mvmt. I XXMagic Flute, Finale

Booking History CANADA Edmonton Symphony Orchestra, Orchestre symphonique de Quebec, Toronto Symphony Orchestra, and Vancouver Symphony Canada

CHINA Beijing Music Festival

MALAYSIA Malaysian Philharmonic Orchestra

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UNITED STATES Annapolis Symphony Orchestra, Ann Arbor Symphony Orchestra, The Augusta Symphony, Baltimore Symphony Orchestra, Buffalo Philharmonic Orchestra, Charlotte Symphony Orchestra, Colorado Symphony Orchestra, Dallas Symphony Association, Delaware Symphony Association, East Texas Symphony Orchestra, Fort Wayne Philharmonic, The Fresno Philharmonic, Grand Rapids Symphony Orchestra, Kansas City Symphony, Maryland Symphony Orchestra, Napa Valley Opera House, New Jersey Symphony Orchestra, North Carolina Symphony, Oistrach Symphony Orchestra, Oklahoma Mozart Festival, The Phoenix Symphony, Reading Symphony Orchestra, Reno is Artown, Richmond Symphony Orchestra, Ridgefield Symphony Orchestra, Seattle Symphony Orchestra, Toledo Symphony Orchestra, Virginia Symphony, andYork Symphony Orchestra.

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Orchestra Feedback

Awards and Honors

KANSAS CITY SYMPHONY

Audio Awards

“This was a FANTASTIC show, and I loved every minute of it! Your actors were superb, and the entire experience was wonderful. I believe we should continue this and will discuss it with our staff. BRAVO!”

XXJuno Award Best Children's Recording (Canada) XXAudio File Earphones Award of Excellence

Frank Byrne Executive Director

“Quite honestly, you and your organization have been one of our favorites to work with. We never have to wait for a response to our questions. It's always a pleasure working with you. It was a fabulous show. Thanks! Let's talk about booking again soon...”

XXParent's Guide Children's Media Award XXSelected as Outstanding by Parent Council XXCanadian Children's Book Centre - Our Choice Gold

Education Awards

Andrew Birgensmith General Manager

“My heartfelt thanks for gracing our community here with your wonderful work! I met many a happy child, both young and old, who enjoyed the show very much. What a real treat for me. Loved the show. Love you all. I hope we do more of these again soon.” Damon Gupton Resident Conductor

XXCurriculum Administrator Top 100 Districts' Choice Award - Teacher's Notes XXLearning Magazine - Teacher's Choice Award - Teacher's Notes XXPractical Home Schooling Association Notable Children's Recordings Teacher's Notes XXTeacher's Choice Award Learning Magazine - The Classroom Collection Teaching Edition XX2005 Karl Haas Award for Music Education

"Thank you so much. Again, your constant professionalism and wonderful product proved to be a great success. We love having you here!" Rebecca Martin Production Coordinator

"As always, THANK YOU! for an engaging and wonderfully professional product. We're really glad to have worked with you again this season." Steven Murray Education Manager

"Thank you so much for a great performance. We enjoyed it tremendously and the audience was simply enthralled. The actors did a wonderful job. What a fantastic production!" Administration letter from The Kansas City Symphony

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Tchaikovsky Discovers America Summary "I saw his ship sail into New York Harbor that day in 1891 - past the Statue of Liberty, past the hundreds of people cheering on the shore. All America seemed to be waiting for him and his music..." Based on the actual historical event, this story tells of the great composer's arrival in New York for the grand opening of Carnegie Hall in 1891 and his famous trip to Niagara Falls. A surprise encounter with a young American girl, Jennie, reveals much about Tchaikovsky - his life in Russia, his love of music and his fears of conducting. This is a poignant story of the meeting of old world influences and new world experiences; a tale of contrast, courage and classical music. Audiences will enjoy more than twentyfive excerpts of the composer's music including passages from his three famous ballets - The Nutcracker, Sleeping Beauty and Swan Lake -The 1812 Overture, First Piano Concerto and String Serenade. The music is magically woven into the drama as two actors recreate historical incidents from the composer's life and dance story passages from his famous ballets. This delightful concert, dance and story performance is approximately 50 minutes in length and is an ideal addition to any children's education program or family concert series. This program is recommended for audiences age six and up.

Synopsis The story begins at New York's Carnegie Hall and Pyotr Il'yich Tchaikovsky is attending the last orchestral rehearsal before the grand opening. But construction noise makes it impossible to rehearse and Tchaikovsky finds himself on the street hounded by reporters. He es-

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capes on a train to Niagara Falls where he meets Jennie, a young American girl, who dreams of becoming a ballerina. During their train ride they discover much about each other - their joys and fears and the healing influences they impart. As Tchaikovsky and Jennie approach Niagara Falls, Tchaikovsky describes what he's discovered in America, "There's an electric energy in this country... all these people, so generous and open-hearted... their ideas, their dreams, their music... all flowing together like a mighty river everything tumbling toward the future!"

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Music Excerpts

Booking History

XXTrumpet Fanfare (from Swan Lake)

CANADA

XXPiano Concerto No. 1, Mvmt. I

Calgary Philharmonic Orchestra, Orchestre symphonique de Quebec, Symphony Nova Scotia, Toronto Symphony Orchestra, Vancouver Symphony Canada, and Winnipeg Symphony Orchestra.

XXDanse Napolitaine (from Swan Lake) XXTrepak (from Nutcracker) XXWaltz (from Serenade in C Major) XXTea (from Nutcracker)

UNITED STATES

XXNutcracker, Overture

Annapolis Symphony Orchestra, Ann Arbor Symphony Orchestra, Britt Festival, Buffalo Philharmonic, Charlotte Symphony Orchestra, Chicago Symphony Orchestra, Colorado Symphony Orchestra, Dallas Symphony Orchestra, Des Moines Symphony, Fort Wayne Philharmonic, Green Bay Civic Orchestra, Kansas City Symphony, Milwaukee Symphony Orchestra, Nashville Symphony Orchestra, National Symphony Orchestra, New Jersey Symphony Orchestra, North Carolina Symphony Orchestra, Oregon Symphony, The Philadelphia Orchestra, The Phoenix Symphony, Quincy Symphony Orchestra Association, Rhode Island Philharmonic, Virginia Symphony, and York Symphony Orchestra

XXCoffee (from Nutcracker) XXChocolate (from Nutcracker) XXWaltz (from Sleeping Beauty) XXOverture to Act II (from Swan Lake) XXSilver (and Rag) (from Sleeping Beauty) XXSwing Low, Sweet Chariot XXOld Russia (from 1812 Overture) XXViolente (from Sleeping Beauty) XXPiano Concerto No. 1, Mvmt. II XXMarche Slav XXNutcracker, Act II Coda XXDance of the Sugar Plum Fairy (from Nutcracker) XXAct II, Entr'acte & Panorama (from Sleeping Beauty) XXSymphony No. 5, Mvmt. II XXLa Cygne Noir, Coda (from Swan Lake) XXAmazing Grace (Traditional) XXSerenade in C Major, Mvmt. I XXSerenade in C Major, Mvmt. IV XX1812 Overture

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Orchestra Feedback

Awards & Honors

YORK SYMPHONY ORCHESTRA

Audio Awards

"The show was wonderful! It was flawless. The actors did a great job. These two are real keepers. Thank you! It was a real pleasure. Your professionalism, preparedness and complete control of details makes all of us perform better! I had a great time and I'm looking forward to seeing you next year.

XXJuno Award Best Children's Recording (Canada) XXAmerican Library Association Notable Children's Recording Award XXParents' Choice Classic Award XXPractical Home Schooling Reader Award Music Curriculum Category & Educational Audiocassette Category

Recommendation to another Orchestra: We've done Classical Kids for three years in a row. We sell out. They are really terrific: talented, easy to work with, reasonable. I give an A+ to Paul Pement and his team.

XXAudioFile Earphones Award of Excellence, Certified Gold Record (Canada)

Henry Nixon Executive Director

TORONTO SYMPHONY ORCHESTRA

"It was an absolute delight, and our audience was clearly engaged with the performance from start to finish!

XXSelected as Outstanding by Parent Council

Book Awards XXGibbon Award Finalist Illustration

Education Awards XXCurriculum Administrator Top 100 Districts' Choice Award - Teacher's Notes

Recommendation to another Orchestra: The Toronto Symphony Orchestra has booked Classical Kids for the last 15 years. I generally program one of their works every other year and it serves to anchor my season.

XXLearning Magazine - Teacher's Choice Award -Teacher's Notes XXPractical Home Schooling Association Notable Children's Recordings Teacher's Notes

The story and visuals help to hold the attention of the younger children, while the older ones really do engage with a deeper understanding of both the music and the period. Our audiences love these productions and I will continue to book on a biannual basis."

XXTeacher's Choice Award Learning Magazine - The Classroom Collection Teaching Edition XX2005 Karl Haas Award for Music Education

Roberta Smith Associate Director of Artistic Administration, Education

FORT WAYNE PHILHARMONIC "You have all done a marvelous job developing and presenting this program. Often during the show I found myself thinking, "This is why I'm a musician." We were due for something of this quality and I think you could tell that by how well it was received!" Adrian Mann Librarian/Musician

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Vivaldi’s Ring of Mystery

Summary Vivaldi, Venice and violins: all three are celebrated in Vivaldi's Ring of Mystery, a compelling mystery story about an orphan girl in the early 1700s who is in search of her roots. A central clue to the mystery is a missing Stradivarius violin that the Duke of Cremona has brought to Vivaldi's school of the Pieta in the hopes of finding his long lost grandchild. You'll have to watch the story unfold to learn its conclusion! Venice of the sixteenth century was a wondrous place - the Disneyland of its day, and this captivating production recreates its ambiance for today's young people. Few children can resist the idea of a city where streets are made of water and boats are part of everyday life. Audiences will enjoy more than twentyfive excerpts from Vivaldi's most popular and important works, including the Four Seasons, the Violin Concerto in A minor, and the Guitar Concerto. The music is magically woven into the drama as two actors solve a mystery built around the historic context of the composer's real life and his school of the Pieta. This exciting concert and story performance is

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approximately 50 minutes in length and is an ideal addition to any children's education program or family concert series. This program is recommended for audiences age six and up.

Synopsis This is the story of Katarina, a young violinist who is sent to study music at the great Pieta orphanage in seventeenth century Venice. There, she comes under the tutelage of the famous music director and composer Antonio Vivaldi and, aided by the colorful gondolier Giovanni, searches through the thrilling but mysterious atmosphere of Carnival and the Island of the Dead for clues to her past and a vanishing Stradivarius violin. Along the way, she comes to understand Vivaldi, his music and his reasons for staying at the orphanage despite his international fame. A touching climactic scene unites Katarina with her Grandfather and together they take Vivaldi's music - "its spirit and soul" - out into the world. "All silent now, the magic spell is told, all silent now, our mystery tale unfolds..."

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Music Excerpts XXConcerto for 2 Trumpets in D Major XXString Concerto XXSpring, Mvmt. I XXPiccolo Concerto XXAutumn, Mvmt. I XXGuitar Sonata XXConcerto in A Minor XXWinter, Mvmt. II XXGuitar Concerto, Mvmt. II XXCaldara Song XXGuitar Concerto, Mvmt. III

Booking History

XXFlute fragment from Il Gardelino

CANADA

XXTrumpet Concert, Mvmt. I

Orchestre symphonique de Montreal, Orchestre symphonique de Quebec, Toronto Symphony Orchestra, Winnipeg Symphony, and Vancouver Symphony Orchestra

XXKatarina's Song "Batti, batti, o bel Masetto" XXDouble Violin Sonata XXConcerto Con Molti XXViolin Concerto in A Minor, Mvmt. II XXLa Notte, Mvmt. I XXSummer, Mvmt. III XXAutumn, Mvmt. II XXWinter Fragment XXSummer, Mvmt. III XXIl Gardelino, Mvmt. II XXCaldara Song XXViolin Sonata in F Major XXPiccolo Concerto, Mvmt. I

UNITED STATES American Classical Orchestra, Ann Arbor Symphony Orchestra, Atlanta Symphony Orchestra, Charlotte Symphony Orchestra, The Cleveland Orchestra, East Texas Symphony Orchestra, Fresno Philharmonic, Kansas City Symphony, Lincoln Symphony Orchestra, Louisiana Philharmonic Orchestra, Maryland Symphony Orchestra, National Symphony Orchestra, The Philadelphia Orchestra, Phoenix Symphony Orchestra, Reading Symphony Orchestra, Ridgefield Symphony Orchestra, and York Symphony Orchestra.

XXTrumpet Concerto, Mvmt. III XXDouble Orchestra Concerto XXAlla Rustica

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Orchestra Feedback

Awards & Honors

NATIONAL SYMPHONY ORCHESTRA

Audio Awards XXJuno Award Best Children's Recording (Canada)

"The general consensus among my colleagues is that you and your company were an absolute pleasure to work with (other descriptions included, "incredible, loved them, consummate professionals" - the list goes on!). I very much hope that we'll have you back soon - especially for the kids in our audience who were completely engaged and were given a wonderful classical music experience."

XXParents' Choice Gold Award, American Library Association Notable Children's Recording Award XXParents' Choice Classic Award XXPractical Home Schooling Reader Award Music Curriculum Category & Educational Audiocassette Category

Courtney Kelly Operations and Electronic Media Manager

XXFilm Advisory Board Award of Excellence

NAPA VALLEY OPERA HOUSE "What a fabulous, incredible show that was last night! Keep those wonderful actors: amazing!! I loved it, had tears in my eyes, and thought the concert and implementation of the parts was just what education for young people should be."

XXAudioFile Earphones Award of Excellence

XXCertified Gold Record (Canada) XXSelected as Outstanding by Parent Council

Education Awards

Evy Warshawski Executive Director

THE MARYLAND SYMPHONY “Thank you for a fabulous concert! I enjoyed every aspect of rehearsal and performance and I know the orchestra appreciated your professional attitude and high level performance standards for the show. It was a real pleasure for all of us and I truly hope we'll be able to work together many more times in the years to come.” Elizabeth Schulze Music Director & Conductor

XXCurriculum Administrator Top 100 Districts' Choice Award - Teacher's Notes XXLearning Magazine - Teacher's Choice Award - Teacher's Notes XXPractical Home Schooling Association Notable Children's Recordings - Teacher's Notes XXTeacher's Choice Award Learning Magazine - The Classroom Collection Teaching Edition XX2005 Karl Haas Award for Music Education

THE FRESNO PHILHARMONIC “Many, many thanks for the wonderful work you and your entire team does. Everything came off smoothly. The guys were flawless. We served close to 7000 kids - almost all of them from economically disadvantaged Title 1 schools. We had a great success!” Don Reinhold Executive Director

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C: Resources Teaching Edition This comprehensive book-style set combines musical studies with many other subject areas and skills and is designed to move children from passive listeners to active participants in music, drama, social studies, history, and other arts. The set also promotes literacy, critical thinking, and communication skills. The Teaching Edition includes 9 awardwinning and best-selling Classical Kids CDs plus the Beethoven Lives Upstairs and Mr. Bach Comes to Call DVDs. The set also features 3 exclusive bonus discs. XXTeacher's Resources CD-ROM: includes Teacher's Notes and scripts for all 9 CDs. XXSlideshow DVD: hundreds of images from the times of the great composers. XXMusic Only CD: 40 minutes of instrumental-only music from the Classical Kids CDs.

The Teacher's Notes support the Integrated Curriculum, Whole Language Learning, Enquiry-based Learning and Visual Thinking Strategies. They provide activities and suggestions to help students and musicians develop general creativity, multi-level thinking, memory skills, cooperation and time management. The scripts are ideal for class read-alongs or

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ESL programs. The Slideshow DVD also comes with hundreds of questions and activities to encourage class discussions. The classroom study resources received Learning Magazine's Teachers' Choice Award and were developed in coordination with US National Standards for Arts Education, and meet or exceed MENC's Educate America Act.

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D: Current Projects Music Inspires! Summary Music Inspires! is a week-long, elementary school program created by Classical Kids Music Education, with educational outreach provided by Chicago Opera Theater, and culminating with a theatrical concert performance in collaboration with the Oistrach Symphony Orchestra that underscores the world-famous Classical Kids Live! stage production, Mozart's Magnificent Voyage. The program will be developed for success as a pilot project at a near west-suburban elementary school in January of 2012 and repeated at four underserved Chicago public elementary schools in the fall of 2012. In addition, the concert performance will be presented for family audiences in three public venues in 2012 through the Chicago Cultural Center, the Chicago Public Library, and the Chicago Park District. The program will predominately benefit economically underprivileged children in Chicago's underserved communities. The Mozart's Magnificent Voyage performance features a play about Mozart's life while an onstage orchestra underscores the action. Children will enjoy twenty three excerpts of Mozart's music magically woven into the drama as two

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professional actors share a story based on true incidents from his life. In order to prepare children for the production, school activities will be conducted over 4 days prior to the full concert performance on day 5. Mozart Week, as it will become known, will include professional actors from CKME, musicians from OSO, and outreach specialists from COT that will visit each grade to conduct classroom activities that relate music and culture experiences to all subject areas. The three additional family concert performances, presented in collaboration with the Cultural Center, Public Library and Park Dis-

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trict, will incorporate a robust interactive experience through pre-concert activities such as an instrument petting zoo, musical craft activities, and a post-concert question and answer period. Our 2012 introduction of Music Inspires! will be evaluated for further understanding of its influence and to support annual program growth for the future. This growth will occur by increasing the number of schools and public venues where Music Inspires! is presented each year and by offering additional productions over multiple years. Chicago Arts Partnerships in Education as well as Urban Gateways have interest in developing our growing CPS relationships. The Chicago Department of Cultural Affairs, Chicago Public Library and Chicago Park District have interest in hosting public performances. The project is expected to serve approximately 10,000 residents annually, providing much needed arts exposure to students and families from underserved neighborhoods that will benefit substantially from the program. Many young people in these neighborhoods are at risk for delinquent behaviors. This risk is compounded in neighborhoods where poverty, drugs, violence, and under-performing schools are the norm. Research has proven that underserved children experience gains in academic performance and social and life skills development when they participate with in-school and community arts integration programs. Music Inspires! will create a lasting benefit to Chicago communities by helping to motivate achievement and success in young people and their families through music's unique contribution to wholeschool development and community regeneration.

Local Collaborators As part of its new local area focus, Classical Kids Music Education is launching a program called Music Inspires!, a Chicago-area music exposure, education and community engagement initiative presented in collaboration with the Oistrach Symphony Orchestra and Chicago Opera Theater.

Oistrach Symphony Orchestra The OSO was founded in 2005 to provide training for young professional musicians who are seeking experience as they make the transition from university music and conservatory programs to professional careers. The OSO's founder, artistic director and conductor, Mina Zikri, is an accomplished violinist and conductor with diverse local and international experience and a strong vision of filling a need for young adults, both musicians and audience members. The OSO has a strong connection with DePaul University in Chicago, but intends to draw musicians from all the major music programs in the area. The Orchestra's mission is to: XXOffer a stable, quality musical home to young musicians with new performance degrees, with exposure to standard orchestra repertory and opportunities to perform in a professional concert setting. XXMake quality classical music performances available to Chicago audiences, with particular focus upon young professionals and families with school-age children. XXServe as a resource to organizations with a need for quality musicians in the area, including other symphony orchestras, choruses, theatres and similar groups.

A primary objective of the Orchestra is to start a school outreach program in 2011/2012 season.

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CKME STRATEGIC PLAN / 2011-2015


Chicago Opera Theater Since its inception in 2000, Chicago Opera Theater's student education program, Opera for All, has been reaching out to students in Chicago's underserved communities. This initiative focuses on demystifying opera for kids through in-depth, participation-based programs. COT brings opera to the schools, infuses it into students' everyday lives, and gives them a chance to experience it firsthand as both audience members and as performers. Opera for All incorporates the many elements of opera into the curriculum through a yearlong residency in four Chicago Public Schools. At the end of the year, students perform their own opera script, musical compositions, and production for their communities. One of Chicago Opera Theater's foremost missions is to introduce opera to young people who would otherwise not have the means or opportunity for exposure to opera or the cultural arts in general. Opera for All recognizes the social, cultural, and individual importance of exposing our youth to opera and the arts.

Linden Christ (educational outreach specialist for Music Inspires!) is the Manager of Education and Outreach for Chicago Opera Theater, involving both the After School Matter's, Opera for Teens, and the middle school opera program, Opera for All. She completed her Master's Degree in Vocal Performance and Musicology from the Chicago College of Performing Arts at Roosevelt University, where she is now an Adjunct Faculty and conducts the University Singers. Ms. Christ is also on faculty with DePaul University's Community Music Division and is the director for Chicago Opera Play House, a touring opera company for children.

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Music together Summary Music Together is committed to helping families, caregivers, and early childhood professionals rediscover the pleasure and educational value of informal music experiences. Upon selecting and settling into our new community home, CKME will offer Music Together - an internationally recognized early childhood music program for babies, toddlers, preschoolers, kindergartners, and the adults who love them. The Music Together program pioneered the concept of a research-based, developmentally appropriate early childhood music curriculum that strongly emphasizes and facilitates adult involvement. Music Together classes are based on the recognition that all children are musical. All children can learn to sing in tune, keep a beat, and participate with confidence in the music of our culture, provided that their early environment supports such learning. By emphasizing actual music experiences rather than concepts about music, Music Together introduces children to the pleasures of making music instead of passively receiving. Central to the Music Together approach is that young children learn best from the powerful role model of parents and caregivers who are actively making music. The program brings families together by providing a rich musical environment in the classroom and by facilitating family participation in spontaneous musical activity at home.

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Community Benefits Classical Kids Music Education is searching for a Chicago-area community location in which to conduct Music Together classes for families as well as offer music education products to parents and teachers while serving as an operations homebase for both its local and national music education programming. As CKME expands its activities and recognition, the community, in which it is located, will benefit from both exposure and the range of programs and services that CKME does and will offer, including: XXRecognition throughout North America. The Classical Kids Live! symphony concert series has already collaborated with hundreds of distinguished orchestras throughout North America (and abroad) and has been reached by over 2 million students and parents.

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XXAssociation with a Highly-Acclaimed Organization. Classical Kids has received over 100 prestigious awards and honors, including an unprecedented 6 Juno Awards and 17 Parent's Choice Awards. The original 16-title audio series, which led to symphony concert series, has been distributed around the world in several languages.

XXCollaboration with Local Art Centers. CKME will partner with local art centers to provide music classes, host community events, and serve as a home venue to a local youth orchestra and children's choir. A long-term goal of the organization is the provision of additional music-related arts education programs in opera, dance, and musical theatre for young people.

XXLocal Educational Outreach. Local elementary school classrooms will be provided with a Teaching Edition media set of the Classical Kids recordings and award-winning teaching materials that will enable educators to provide instruction and encourage children to engage with classical music.

XXMusic Education Retail Outlet. CKME will act as a regional destination for families and schools looking for quality music recordings and educational materials for young people.

XXPartnership with Local School Districts. CKME will work with local school districts to bring classroom musician visits and cultural presentations into elementary schools, as well as offer live music education performances that will allow the area's children direct access to professional artists, organizations and productions. XXBroadcasts and Distance Learning. CKME will showcase the community's local arts venue and orchestra through targeted distance learning broadcasts to underserved classrooms across the nation. XXPartnerships with Local Orchestra. CKME will partner with a local orchestra to provide family and schooloriented concert collaborations which introduce the extraordinary lives and musical masterpieces of the great classical composers. The orchestra will also partner with CKME for the inschool and distance learning outreach initiatives above. XXLocal Community Outreach. CKME will launch Music Together, an internationally recognized early childhood music curriculum program that emphasizes and facilitates family involvement while introducing music activities to infants, toddlers, preschoolers and kindergartners.

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Cory Goodrich We are proud to announce that Cory Goodrich, professional actress, children's entertainer, and early childhood educator, has successfully completed Music Together's training program and is on track to be the Music Together Center Director in our new community home. Cory is a highly successful singer/actress/ writer in the Chicago area. Winning one Joseph Jefferson Award and nominated for three, she has been seen on stages across the country working with such notables as George Hearn, Patti LuPone, Lonny Price, Bea Arthur and Margaret O'Brien. In addition to starring roles in theatres across the country, Cory can be heard on many voice over and studio singing recordings and she has also sung live with the Chicago Symphony Orchestra, the Auditorium Theatre's acclaimed Ovations series, and as a soloist at the distinguished Ravinia Festival. Cory and CKME Executive and Artistic Director Paul Pement started Wagtail Productions and created two CDs, Hush and Wiggly Toes, which were awarded Best Album and Best new Artist by the Children's Music Web Awards.

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EVERY ORCHESTRA, every child Summary Classical Kids Music Education (CKME) is proud to launch Every Orchestra, Every Child. The project was created to enable deserving orchestras, which are experiencing extreme financial difficulties, the ability to offer largely underserved audiences access to the award-winning productions within the highly-acclaimed Classical Kids Live! symphony concert series. These popular theatrical concerts currently average fifty performances each season with approximately twenty of the country's major orchestral organizations, reaching up to one hundred thousand children and their parents annually. The Every Orchestra, Every Child project will allow CKME to significantly increase audience attendance and exposure, reaching up to ten additional orchestras and fifty thousand additional children annually. Each year CKME receives over one hundred inquiries from orchestras wishing to book Classical Kids Live! performances. To enable as many orchestras as possible to benefit from excellent artistic experiences, CKME provides its productions at cost. Unfortunately, approximately 80% of inquiries are dropped because the orchestra organization is still unable to afford this substantive arts education experience and must rely on lower-quality performance options. The Every Orchestra, Every Child project allows CKME to seek and obtain outside funding opportunities that provide a reduction to the performance fee normally paid by orchestral organizations by up to 30%. As many as twenty additional orchestras, specifically smaller, financially struggling organizations, will be able to provide excellent music education experiences during a typical performance sea-

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son. Discounted pricing will be available to in-need orchestras with potential for large audience attendance and optimal exposure, especially those orchestras serving at-risk audiences in underserved communities. CKME looks forward to increasing its overall collaborative efforts by 50% each season. Specific goals for the project are to (1) reduce the performance fee for in-need orchestras by an average of 30%, (2) increase the overall number of collaborating orchestras by 50% each season, (3) increase audience attendance, especially in underserved communities, by one hundred thousand children and parents over two years, (4) expose K-8th graders to classical music through direct access to culturally significant venues, professional artists, organizations, and productions, (5) educate students about the lives and music of Beethoven, Tchaikovsky, Vivaldi, and Mozart, (6) integrate the arts into the curricula of public schools as a means of fostering system-wide educational improvement and as an essential part of a high-quality education, (7) inspire the next generation of musicians, composers, and classical music lovers, and (8) create a stronger "bridge" between orchestras and future audiences through outstanding multi-arts presentations.

CKME STRATEGIC PLAN / 2011-2015


Classical Kids Music Academy Summary The Classical Kids Music Academy is an online, interactive classroom music study program that supports the Classical Kids stories and serves as a comprehensive distance learning opportunity that will allow all children, especially those in rural areas, to participate in CKME programming. The Music Academy will be complete with a teacher's resource lounge, crosscurricula lesson planning and activities downloads, Smartboard interactive technology, teacher development videos and live help, student homework music lab, student social network sharing, music educator chats, musician visit performance webinars, and Classical Kids Live! concert event broadcasts. The Music Academy not only benefits children in areas without access to symphony orchestra programming but will be outsourced to the orchestras who book Classical Kids Live! performances to be used as an educational outreach tool in the schools they serve. The Classical Kids Music Academy will be further developed and headed by the Education and Outreach Director of CKME, a new position created in 2015.

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Create Anew

Summary Create Anew is a vital and ongoing project at CKME that creates new program offerings for symphony orchestras while maintaining high artistic values by adding new enhancements to current productions. Create Anew calls upon CKME's artistic team of creators, writers, designers and actors to develop and produce new and exciting material for orchestras to present and audiences to enjoy.

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Create Anew allows CKME to develop grant seeking strategies in conjunction with specific funding opportunities that will support new production creation demands, production element revitalization (costumes, props, music), artist pool expansion, and overall production producing activities. Create Anew provides orchestra organizations with new programming opportunities and enhancements while raising the number of orchestras presenting Classical Kids Live! thus increasing the overall number of children and parents being served.

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Mr. Bach Comes to Call Excerpts More than 28 musical excerpts include Jesu, Joy of Man's Desiring, Brandenburg Concerto #5, Air on the G-string, Flute Sonatas and Badinerie, Goldberg Variations, minuets and preludes, organ music and Cantata #78.

History The story originally premiered as the first recording in the Classical Kids audio series winning the following awards:

Summary Mr. Bach Comes to Call is a new, fully produced symphony concert production that will begin being offered in 2012-13 season as part of the Classical Kids Live! programming options. The story captures the special friendship between a great composer and a young girl. After the dramatic send-off of Bach's music into space aboard the Voyager II, Mr. Bach unexpectedly arrives at the house of Elizabeth, a present-day child, who is awkwardly practicing Bach's famous Minuet in G. Mr. Bach reminisces about his life and music; his twenty children, his time in jail and his devotion to the church. Not until the very end does he reveal the reason for his visit, "Every time my music is played... I am alive."

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XXJuno Award nomination Best Children's Recording (Canada) XXParents' Choice Gold Award (U.S.) XXAmerican Library Association Notable Children's Recording Award XXParents' Choice Classic Award (U.S.) XXPractical Home Schooling Reader Award Music Curriculum Category and Educational Audio Cassette Category (U.S.) XXFilm Advisory Board Award of Excellence (U.S.) XXCertified Gold Record (Canada) XXCertified Platinum Record (Canada)

Recently, a video of Mr. Bach Comes to Call was released receiving two Emmy Award nominations.

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Hallelujah Handel! Synopsis Welcome to Georgian England where fine ladies and gentlemen travel to and from their stately homes in clattering horse-drawn carriages. Music fills London's many concert halls and magnificent parks. But beyond this princely exterior, in a darkened room behind the opera house, lives a young, orphaned boy with a mysterious past and an extraordinary talent: he sings like an angel, but refuses to speak.

Summary Hallelujah Handel! is a new live symphony concert production offered as a less expensive option to orchestras that wish to produce their own Classical Kids production by renting only our story and music (director, actors, choir, stage manager, lighting, costumes, props, etc. are the orchestra's responsibility). This theatrical presentation is designed to introduce children to the life and music of George Frideric Handel. In this production, an orchestra, choir, boy soloist and two performers are brought together on stage in celebration of Handel's music.

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The stage is now set for Hallelujah Handel! the dramatic Classical Kids Symphony Concert. The great composer George Frederic Handel arrives to conduct a rehearsal at the Foundling Hospital in London but he is quickly disturbed by the appearance of the diva soprano, Mme. Cuzzoni. This grandiose lady and Maestro Handel are drawn together by the haunting voice of Thomas, a young orphaned boy. Through their kindness, generosity and the power and majesty of Handel's music, Thomas' heart is finally healed. Along the way, the story reveals much about Handel's life and times in London including the city's famous Vauxhall Gardens, the Opera Hall, the back streets of Gin Lane and the Foundling Hospital.

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Requirements

Music Excerpts

A production script and music excerpt rehearsal CD, as well as choir director and chorister books, will be provided well in advance for rehearsal purposes. A Conductor's Book, complete with full-score, cues and incorporated script, along with all individual musician parts, will be sent approximately 1 month in advance of the concert.

XXRejouissance

Suggested instrumentation is:

XXLascia

XXPiangero (fragment) XXFor Unto Us XXVerdi Prati XXHornpipe in D+ XXWhere'ere You Walk XXMinuet - Fireworks

String Count 4.4.3.2.1

XXHarmonious Blacksmith

2.2.0.1-2.2.0.0-tmp-hpd-str

XXDa Tempesta

In addition to providing conductor and orchestra, presenter shall be responsible for the following requirements necessary to mount this theatrical symphony concert production:

XXO Lovely Peace

Director: Presenter will provide a director to facilitate the casting, directing and staging of two actors and the coordination of a choir, boy soloist, and orchestra.

XXAir (Water Music)

Stage Manager: Presenter will provide a stage manager to assist the director in the above duties as well as technical coordination with venue's staff and crew. Actors: Presenter will provide two actors to play the roles of Maestro Handel and Madam Cuzzoni. A boy soloist will be chosen from within the choir to play the role of Thomas.

XXArrival of the Queen of Sheba XXV'adoro (Sinfonia and Aria) XXBouree (Fireworks) XXSee the Conqu'ring Hero Comes XXMessiah Scene (from Pifa to Glory to God) XXSinfonia (Samson) XXSarabande in D XXPiangero XXHe Shall Feed His Flock XXHallelujah Chorus XXRejouissance

Production Elements: Presenter will provide all necessary production elements (costumes, props, lighting, and sound) as the story and director may require. Choir: Presenter will provide either a mixed children's choir (SSA) or a girls' choir. The Choirmaster is to rehearse the Choir in advance. (If using a girls' choir, it would be best if a boy was included to play the role of Thomas.)

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E: Organization Positions Founder & Creative Director The Founder & Creative Director is the leader of Classical Kids Music Education. Paul Pement will segue into the new position title and duties over the next few years. Currently he holds the position of Executive & Artistic Director, responsible for all business and artistic aspects of the organization. In the new position, he will continue to serve as the "face" of CKME. However, as Founder and Creative Director, Paul will surrender Executive & Development director duties. In the new position, Paul will continue to guide the overall direction of the organization and has decision making autonomy in matters relating to artistic product.

Organization Guidance & Representation XXGuides the organization in terms of its mission, vision, values, goals & objectives. XXRepresents the organization to staff, board, advisors, committees, volunteers, orchestras, arts organizations, educational organizations, foundations, sponsors, donors, and the community.

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XXMaintains relationships and serves as the primary contact for local, national and international performing individuals or organizations for potential collaborations and future tour presentations.

Audience Development/Public Relations XXServes as the company spokesperson on the history, vision and artistic agenda of CKME to outside organizations and the press. XX(With Marketing Director) Creates the annual marketing plan. XXOversees, reviews and approves the annual marketing plan and all organization and production related press materials (including concert programs). XXApproves publicity and marketing materials representing the organization and its programming. XXHelps to generate press materials that concern the history, artistic goals, mission, and vision of the organization.

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Fundraising/Development

Artistic Administration

XXServes as artistic spokesperson when needed to funders, new and current.

XXMaintains artist pool of actors and production creators.

XXAvailable to write the artistic portion of grants or corporate proposals.

XXCasts, Directs, Choreographs, and rehearses all productions.

XXAvailable to meet with the Development Director/Committee to provide any and all information about the artistic department or any performances.

XXOversees maintenance and storage of all production elements such as costumes, props, music and lighting and technical requirements.

XXSigns thank you letters for all individual donations made to CKME. XXAvailable to attend and speak at fundraising events representing the programming and artistic vision of CKME.

Financial XXParticipates in annual budget creation meetings. XXConsults with the Executive Director on creation of salaries, payroll and department budgets. XXHas strong influence over annual budget.

Artistic Development

XXHandles/oversees booking inquiries and subsequent discussions regarding the booking of productions by orchestral administrators. XXHandles/oversees symphony concert tour coordination including handling technical requirements, supplying program information, planning travel, shipment of music, and creation of itineraries. XXTravels on most tours serving as Director and Stage Manager of the production. XXResponsible for contracting orchestral clients and assuring CKME fulfills its contractual obligations and maintains productive working relationships with its constituents.

XXCreates and maintains artistic development plan, schedule, and performance opportunities. XXReview opportunities and plans for community outreach projects aimed at families and children XXGives artistic insight and feedback both verbal and written -- to all projects proposed and in development. XXOversees creation, adaptation and writing of all productions. XXOversees creation of all production elements such as costumes, props, music and lighting and technical requirements.

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CKME STRATEGIC PLAN / 2011-2015


Executive & Development Director The executive director is the chief executive officer responsible for the organization's consistent achievement of its vision and mission. The executive director reports to the Board of Directors and is responsible for implementing the policies, goals and objectives set by the Board. The Executive Director assumes the overall leadership role in guiding all financial, program and administrative activities of the organization. This position is currently held by Executive & Artistic Director, Paul Pement. Paul will segue out of this role over the next few years to be replaced by a highly-qualified Executive & Development Director.

Board Administration and Support XXEnsure that the Board is kept fully informed on the condition of and all important factors influencing CKME. XXIn conjunction with the Board of Directors, assure that CKME has a long-range strategy which achieves its mission and toward which it makes consistent and timely progress. XXProvide leadership in developing program, organizational, and financial plans with the Board and staff, and carry out plans and policies authorized by the Board. XXMaintain, store and back-up all official records and documents; ensure compliance with federal, state, and local regulations.

Program, Product and Service Delivery XXOversee the design, marketing, promotion, delivery and quality of programs, products and services. XXDesign and implement a marketing program to increase CKME's audience and public awareness of CKME activities. XXOversee educational and community outreach initiatives with school children and the general public.

CKME STRATEGIC PLAN / 2011-2015

XXOversee all CKME performances (marketing, invitations, facilities, security etc.). XXEstablish and maintain a database of CKME collaborating orchestras, potential collaborators, employees and other contacts. XXEstablish and maintain a productive office and administrative environment.

Fundraising XXOversee fundraising planning and implementation, including identifying resource requirements and researching funding sources. XXDevelop and sustain a diverse funding base. XXWrite/oversee all grant proposals. XXEstablish and maintain a donor database. XXDevelop and maintain a corporate sponsor donation program. XXFinancial, Tax Risk and Facilities Management XXWork with Finance Manager to develop and maintain sound financial practices. XXWork with the Finance Manager, Treasurer, and the Board to prepare a budget; ensure that CKME operates within budget guidelines. XXEnsure that adequate funds are available to permit CKME to carry out its programs. XXSupervise all bookkeeping, accounting and financial activities.

Human Resources XXRecruit, employ, and release of all production and administrative staff, both paid staff and volunteers. XXEnsure that an effective management team, with appropriate provision for succession is in place.

Appendix E: Page 3


XXDevelop job descriptions, ensure that regular performance evaluations are held and that sound human resource practices are in place. XXEncourage staff and volunteer development and education, and assist program staff and volunteers in relating their specialized work to the total organizational needs of CKME. XXPromote active and broad participation by volunteers in all areas of the organization's work.

Community/Public Relations XXEstablish a program to publicize CKME's activities, programs, and goals. XXEstablish sound, collaborative relationships with community groups and other organizations. XXRepresent CKME's programs and point of view to agencies, organizations, and the general public. XXFurther develop the CKME website and social and artistic networking sites.

Business Manager (Finance, Marketing, Program & Office Manager; Information Technology & Graphic Designer ) This administrative position assists the Founder & Creative Director and the Executive & Development Director. (These duties are currently handled by CKME Business Manager, Seth Parker.)

Assistance for the Founder & Creative Director includes: XXProduction element maintenance XXConcert tour coordination XXContract processing XXItinerary creation

Assistance for the Executive & Development Director includes: XXCreating and maintaining accounting practices and budgets XXMaintaining and filing legal documents and official records XXCreating and sending marketing materials XXGrant writing XXCreating and maintaining website XXMaintaining information technology programming and equipment XXCreating and maintaining data base contact lists XXMaintaining and ordering office supplies

Appendix E: Page 4

CKME STRATEGIC PLAN / 2011-2015


Education Director The Education Director will be responsible for launching the Classical Kids Music Academy to serve orchestral collaborators and their school constituents, as well as rural schools without access to symphony orchestras. The position will also manage Music Together, an internationally recognized early childhood music program. Additional duties include providing orchestras with education-related concert materials and activities as well as assisting with education-related grant writing. Depending on resources and capability, this position may be combined with Business Manager.

Music Together Community Music Program for 0-5 year olds: XXManages program including community outreach and marketing XXManages and collaborates with teaching artist Cory Goodrich

Orchestral Collaborations: XXUpdates/Creates educational materials and activities

Development Assistance: XXHelps to write education-related grants

Creates & Manages Classical Kids Music Academy including: XXDevelopment webinars XXResource downloads XXSmartboard technology XXAccess to Classical Kids Live! concert recordings and live musician broadcasts XXInteractive homework and activities lab

CKME STRATEGIC PLAN / 2011-2015

Appendix E: Page 5


BOARD PLANNING General Responsibilities All Board Members XXApprove mission and vision. XXSet policy. XXGovern the direction of the organization. XXApprove budget XXRepresent the organization to the community XXRead documentation and be prepared for each board meeting XXMake financial support of the organization a "Personal Philanthropic Priority."

Specific Roles President or Chairperson XXCreate meeting agendas by collecting issues and discussion topics.

Treasurer XXWork with the Executive Director on budget and projections. XXOversee financials. XXWork with ED and auditor; accept audit findings. XXSignatory to organization's bank accounts. XXReport financial status to the board at each meeting.

Secretary XXWork with the Executive Director to maintain and make available all organization documentation. XXWork with the meeting scribe to create and edit minutes. XXMaintain the organization's Board Calendar.

XXChair meetings.

Committee Chairships

XXTrack and follow up on commitments made by board members and staff.

(These may come and go depending on the organization's needs.)

XXRepresent the board to the public.

Vice President (Optional role unless required by the bylaws.) XXChair meetings in President's absence. XXStand-in for the president for any roles or tasks.

XXFundraising. XXProgram (normally the Creative Director heads this if there is a committee). XXAdministration (essentially Executive Director support). XXDevelopment. XXPublicity/Communications. XXVolunteer. XXFinance/Audit.

Appendix E: Page 6

CKME STRATEGIC PLAN / 2011-2015


VOLUNTEER EXPANSION A small organization is run, in part,with the gracious assistance of volunteers. CKME must continue to grow a core group of volunteers who are available to help the organization with the many tasks involved in producing its performances and supporting its growth. XXWork with the Executive Director on administrative, data base, or web tasks. XXSupport the distribution and collection of tour materials; assist at rehearsals. XXHelp to maintain various contact lists. XXHelp with grant writing. XXHelp to maintain various production elements (costumes, props, music). XXFold and stuff marketing mailings and donor campaign letters. XXBecome active members on board-led committees. XXLead committees as appropriate. XXLead and staff fundraising activities XXSet up and staff annual organization reception - provide snacks & refreshments.

CKME STRATEGIC PLAN / 2011-2015

Appendix E: Page 7


F: ACG Research The following pages contain research conducted by the Arts Consulting Group to support the Strategic Planning Process. The Appendix is broken down into the following Attachments:

Introduction Attachment 1: Strategic Planning & Community Engagement Timeline..................... 2

Industry & Demographic Statistical Data Attachment 2: The Market - Local/Regional............................................................. 3 Attachment 3: The Market - National......................................................................18 Attachment 4: Media & Technology Usage..............................................................31

Industry Interview Findings Attachment 5A: External Stakeholder Perceptions - National...................................36 Attachment 5B: External Stakeholder Perceptions - Local/Regional.........................48

CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 1


Appendix F: Page 2

CKME STRATEGIC PLAN / 2011-2015

Phase 6: Final Strategic Plan and Community Announcement

March 2011:

Phase 5: Draft Strategic Plan – Testing with Community Advisors

February 18, 2011:

Phase 4: Board & Staff Strategic Plan Development

March 2010 – January 2011:

Phase 3: Report to Planning Committee & Advisory Group

October - January 2009: Phase 2: External Stakeholder Assessment; Community Advisors & Planning Cte Meetings; Interviews and External Data Gathering February 2010:

Phase 1: Internal CKME Assessment

October 2009:

Attachment 1 Strategic Planning & Community Engagement Timeline


Attachment 2 THE MARKET – LOCAL/REGIONAL CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 3


Appendix F: Page 4

CKME STRATEGIC PLAN / 2011-2015 10% Age 6-8 yrs

30%

50%

60%

70%

12,309,276

524,566

408,961

80%

90%

12,659,700

543,804

414,981

100% Age 9-11 yrs

Age 12-14 yrs

Age 15-17 yrs

Source: US Census, 2008 American Community Survey 1-Year Estimates

40%

11,938,131

512,004

392,589

The number of children in each age group are quite evenly spread locally, regionally, and nationally. No “population bubbles” exist that might indicate a greater need for future programs geared toward any particular age group.

Age 5 yrs

20%

11,964,297

United States 3,928,821

0%

529,722

169,852

Illinois

406,394

133,341

ChicagoNapervilleJoliet Metro Area


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 5

◦ 234 superintendents ◦ 751 principals

Responses:

◦ 88 school districts ◦ 3,892 schools

Statewide Survey

◦ High Schools: 19.7% ◦ Middle Schools: 15.5% ◦ Elementary Schools: 64.8%

By School Type:

◦ Superintendents: 26.5% ◦ Principals: 19.2%

Response rate: 20.6%


Appendix F: Page 6

CKME STRATEGIC PLAN / 2011-2015

Source: Illinois Creates – Illinois Arts Education Initiative 2005 report “Arts at the Core”

“arts education is important to success in life.”

“arts education helps students perform better on standard achievement tests,” and

“the arts are an essential part of a quality education,”


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 7

Source: Illinois Creates – Illinois Arts Education Initiative 2005 report “Arts at the Core”

28% of superintendents report that none of the four arts disciplines were considered part of the core curriculum in their school district.

almost 20% of Illinois principals surveyed report having no arts program in their school (visual arts, theater, music or dance), and


Appendix F: Page 8

CKME STRATEGIC PLAN / 2011-2015

Source: Illinois Creates – Illinois Arts Education Initiative 2005 report “Arts at the Core”

According to principals and superintendents, the most significant barrier to arts education is budget considerations, with lack of available time in the school day also a major barrier.

80% of high school principals report that students in their schools are not required to take a single course in the arts in order to graduate.

11% of school districts require no arts instruction in any grade.

23% of schools employ no arts specialist.

10% of school districts have no certified arts teachers in any arts discipline anywhere in the district.


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 9

18%

38%

2 Disciplines Offered

3 Disciplines Offered

4 Disciplines Offered

8%

16%

Source: Illinois Creates – Illinois Arts Education Initiative 2005 report “Arts at the Core”

1 Discipline Offered

No Disciplines Offered

20%


Appendix F: Page 10

CKME STRATEGIC PLAN / 2011-2015

Dance

Theater

Visual

Music

0%

20%

30%

40%

National (High School and Elementary)

10%

11%

17%

27%

33%

50%

90%

70%

80%

Illinois (High School and Elementary)

60%

90%

Source: Illinois Creates – Illinois Arts Education Initiative 2005 report “Arts at the Core”

63%

78%

92%

100%


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 11

Peoria

Carbondale

Springfield

Moline

Rockford

Normal

Chicago

Map Provided By: Amy Krause, Northern Illinois University

Source: Illinois Creates – Illinois Arts Education Initiative 2005 report “Arts at the Core”

Champaign

Illinois Arts Education Presence


Appendix F: Page 12

CKME STRATEGIC PLAN / 2011-2015 ChicagoNapervilleJoliet…

79%

77%

512,004

77%

392,589

Age 9-11 yrs

406,394

Age 6-8 yrs

133,341

Age 5 yrs

169,852

529,722 524,566

78%

408,961

Age 12-14 yrs

76%

414,981

Age 15-17 yrs

543,804

The Chicago Metropolitan Statistical Area contains more than three quarters of the entire state’s population of school-aged children.

Source: US Census, 2008 American Community Survey 1-Year Estimates

Illinois

0

100,000

200,000

300,000

400,000

500,000

600,000


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 13

5,021

# of Female Students

50.80%

215,590

49.20%

208,797

17:1

25,389 Teachers

424,387 students

675 Schools

Chicago

49.50%

1,060,485

50.50%

1,081,863

17:1

128,860 Teachers

2,142,348 students

4,641 Schools

Illinois

School data reflects 2006 statistics (most recent year available).

Source: www.publicschoolreview.com

49.30%

50.70%

% Male Students

% Female Students

5,168

705 Teachers

# of Teachers

# of Male Students

10,189 students

# of Students

14:1

16 Schools

# of Schools

Student / Teachers Ratio

Skokie

Overview:


Appendix F: Page 14

CKME STRATEGIC PLAN / 2011-2015

396,204 (18.5%)

159,295 (37.5%)

34,402 (8%)

5,074 (50%) 69 (1%)

White Students

Other Students

37,685 (2%)

1,190,583 (56%)

434,377 (20.3%)

School data reflects 2006 statistics (most recent year available).

Source: www.publicschoolreview.com

10,158 (2%)

206,543 (48.7%)

915 (9%)

Black Students

Hispanic Students

912 (9%)

79,511 (3.7%)

13,383 (3.2%)

3,155 (31%)

Asian Students

3,988 (.2%)

606 (.1%)

64 (.6%)

Illinois

American Indian Students

Chicago

Skokie

Overview:


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 15

Students in Pre-Kindergarten: Students in Kindergarten: Students in 1st Grade: Students in 2nd Grade: Students in 3rd Grade: Students in 4th Grade: Students in 5th Grade: Students in 6th Grade: Students in 7th Grade: Students in 8th Grade: Students in 9th Grade: Students in 10th Grade: Students in 11th Grade: Students in 12th Grade:

Overview: 178 551 639 653 475 483 526 615 623 674 1,183 1,170 1,222 1,197

21,317 29,809 32,623 32,372 34,124 32,286 33,186 35,431 31,697 31,552 37,117 29,731 23,923 19,219

Chicago

74,191 151,256 157,164 156,108 157,990 157,338 161,961 165,849 162,772 163,301 180,606 166,212 148,067 139,067

Illinois

School data reflects 2006 statistics (most recent year available).

Source: www.publicschoolreview.com

Skokie


Appendix F: Page 16

CKME STRATEGIC PLAN / 2011-2015

Traditional elementary: 395 Magnet: 36 Middle: 10 Gifted centers: 12 Special education: 8 Contract: 8 Performance: 5 Classical: 4 Small: 4

◦ Elementary: 42 ◦ High school: 29

Charter schools: 71

◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦

Elementary: 482 ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦

General/technical: 41 Performance: 15 Small school: 11 Achievement academy: 8 Alternative school: 8 Career academy: 8 Selective Enrollment: 8 Contract: 7 Military academy: 6 Magnet school: 5 Special education: 5

High schools: 122

Source: www.cps.edu/About_CPS/At-a-glance


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 17

Map Provided By: Amy Krause, Northern Illinois University

Source: Illinois Creates – Illinois Arts Education Initiative 2005 report “Arts at the Core”

Chicago Arts Education Presence


Attachment 3 THE MARKET - NATIONAL Appendix F: Page 18

CKME STRATEGIC PLAN / 2011-2015


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 19

Source: 2009 National Arts Index compiled by Americans for the Arts

Corporate giving decreased from 10.3% to 4.6% betwween 1998 and 2007.

Foundation funding directed to the arts decreased from 14.8% to 10.6% between 1998 and 2007.

Attendance at museums and performing arts events decreased 13% and 17%, respectively, between 20032008.


Appendix F: Page 20

CKME STRATEGIC PLAN / 2011-2015

Source: 2009 National Arts Index compiled by Americans for the Arts

1 in 3 failed to achieve a break even budget.

Every three hours a new nonprofit arts organization was created between 2003 and 2008.

The number of nonprofit arts organizations grew 42.5% over the past decade (from 73,000 to 104,000).


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 21

Source: 2009 National Arts Index compiled by Americans for the Arts

All of the anecdotal information about local and state arts education funding for levels K-12 has not been assembled into a single national statistic.

There is surprisingly little national data to measure how America’s students are learning about the arts. The National Assessment of Educational Progress, produced by the U.S. Department of Education, addresses the arts only sporadically.

(The Center for Education Policy and the Council for Better Education)

Some studies have shown cuts in the amount of arts education in the nation’s schools ranging from 25% to 33%.


Appendix F: Page 22

CKME STRATEGIC PLAN / 2011-2015

Source: 2009 National Arts Index compiled by Americans for the Arts

The number of college arts degrees conferred annually increased 60% between 1998 and 2007 (75,000 to 120,000) and grew as a share of all degrees conferred (3.9% to 4.1%).

SAT test takers intending to pursue a college degree in the arts increased from 6.4% to 7.1% (1998-2008).

 Students taking four years of courses in art and music have higher SAT scores than those of students taking fewer years.

SAT test takers with 4 years of arts and/or music increased from 15.4% to 20.2%, between 1998 and 2009.


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 23

Over $14.6M $1.7M – $12.5M

Less than $1.7M

1 2-4

5–8

556

94

28

# in Group *

66

25

8

* Source: Jan Wilson, League of American Orchestras 2010

Budget Size

Group

Respondents to 2008 League Education Survey


Appendix F: Page 24

CKME STRATEGIC PLAN / 2011-2015

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23.

Los Angeles, CA Boston, MA Chicago, IL San Francisco, CA New York, NY Philadelphia, PA Cincinnati, OH Detroit, MI Nashville Minnesota, MN Pittsburgh, PA Atlanta, GA National, DC Indianapolis, IN Baltimore, MD Seattle, WA Houston, TX Saint Louis, MO Utah, UT San Diego, CA Milwaukee, WI New Jersey, NJ St Paul Chamber, MN

Group 1 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23.

Virginia, VA Hartford, CT Toledo, OH San Antonio, TX Omaha, NE New Mexico, NM Dayton, OH Tucson, AZ Fort Wayne, IN Los Angeles Chamber, CA Louisiana, LA Oklahoma City, OK Richmond, VA Madison, WI Orpheus Chamber, NY Spokane, WA Santa Barbara, CA Long Beach, CA Knoxville, TN West Virginia, WV Santa Rosa , CA Arkansas, AR Chattanooga, TN

Group 3

Source: Orchestra Statistical Data 2008; League of American Orchestras

Pacific, CA North Carolina, NC Colorado, CO Fort Worth, TX Kansas City, MO Phoenix, AZ Florida, FL Buffalo, NY Rochester, NY Grand Rapids, MI Charlotte, SC Louisville, KY Sarasota, FL Naples, FL Syracuse, NY Alabama, AL

Group 2

Sample Target Markets - National


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 25

Group 1 Budget Greater than $14.6 million

50%

Group 2 - 4 Budget $1.8 - $12.5 million

60%

Group 5 - 8 Budget Less than $1.7 million

27%

With a majority of Group 1 – 4 orchestras relying on tickets sales to fund some portion of their education offerings, these are the organization’s most likely to be utilizing paid guest artists. High quality productions should be an important programming consideration.

0

10

20

30

40

50

60

Source: League of American Orchestras ' 2008 Education/ Community Relations Survey


Appendix F: Page 26

CKME STRATEGIC PLAN / 2011-2015 Group 1 Budget Greater than $14.6 million

$1,334,333

Group 2 - 4 Budget $1.8 - $12.5 million

$247,146

Group 5 - 8 Budget Less than $1.7 million

$59,876

With their small education budgets, Group 5 – 8 orchestras are far less likely to utilize paid guest artists.

$0

$200,000

$400,000

$600,000

$800,000

$1,000,000

$1,200,000

$1,400,000

Source: League of American Orchestras '


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 27

Source: League of American Orchestras ' 2008 Education/ Community Relations Survey

In-Hall youth/family concerts In-Hall school concerts High school programs Middle school programs In-school residencies In-school workshops/ coaching In-service training for music teachers Long-term partnerships with schools Master classes for students


Appendix F: Page 28

CKME STRATEGIC PLAN / 2011-2015

15 14 13 13 13 12 12 12 11

60% 56% 52% 52% 52% 48% 48% 48% 44%

%

Source: League of American Orchestras 2008 Education/ Community Relations Survey

Elementary school programs In-Hall school concerts In-Hall youth/family concerts Middle school programs Work with other cultural/ed organizations Continuing education programs for teachers High school programs In-school chamber/ensemble concerts Master classes for students

# responding


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 29

25 24 20 19 18 17 17 17 16

37.9% 36.4% 30.3% 28.8% 27.3% 25.8% 25.8% 25.8% 24.2%

%

Source: League of American Orchestras ' 2008 Education/ Community Relations Survey

Elementary school programs Work with other cultural/ed organizations Master classes In-school chamber/ensemble concerts In-Hall youth/family concerts In-Hall school concerts High school programs Middle school programs Youth orchestra

# responding


Appendix F: Page 30

CKME STRATEGIC PLAN / 2011-2015

137

53

14,092

282

563

1,153

5,238

336

26,897

Group 5- 8

Source: League of American Orchestras ' 2008 Education/ Community Relations Survey

78

dnp

Classroom Teachers served

dnp = data not provided

86

dnp

344

dnp

College/ Grad students

Music Teachers served

1,371

dnp

High schools students served

9,404

2,346

dnp

Middle schools students served

37,450

13,834

dnp

Elementary school students served

Adults (primarily pre/post-concert talks)

1,004

dnp

Pre-school school students served

Group 2- 4

36,715

Group 1

64,217

Total population served

Population


Attachment 4 Media & Technology Usage CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 31


Appendix F: Page 32

CKME STRATEGIC PLAN / 2011-2015 0

0.1

0.2

10%

0.3

20%

1999

0.5

47%

0.6

0.7

2004

59%

In the last decade, American children have gained greater and faster access to the internet.

0.4

33%

31%

Source: Generation M2: Media in the Lives of 8- to 18Year-olds, A Kaiser Family Foundation Study, January 2010

bedroom

access in their

Internet

home access

wireless

High-speed/

access

Home Internet

2009

0.8

74%

0.9

84%


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 33

2004 3:51 1:44 1:02 0:49 0:43 0:25 8:33 26% 6:21

Over the last decade, children are spending over 3 hours more per day watching TV, listening to music, surfing the web, & playing video games.

Source: Generation M2: Media in the Lives of 8- to 18-Year-olds, A Kaiser Family Foundation Study, January 2010

TV content Music/audio Computer Video games Print Movies TOTAL MEDIA EXPOSURE Multitasking proportion TOTAL MEDIA USE

2009 4:29 2:31 1:29 1:13 0:38 0:25 10:45 29% 7:38

1999 3:47 1:48 0:27 0:26 0:43 0:18 7:29 16% 6:19


Appendix F: Page 34

CKME STRATEGIC PLAN / 2011-2015

0:00

2:00

4:00

6:00

8:00

10:00

12:00

14:00

4:22

8–10-year-olds

TV content

3:41

5:03

Music 11–14-year-olds

1:08

2:22

3:03

15–18-year-olds

Computers

0:46

1:46 1:39

1:25

1:08

11:23

5:29

8:40 7:58

Video games Total Media Exposure Total Media Use Source: Generation M2: Media in the Lives of 8- to 18-Year-olds, A Kaiser Family Foundation Study, January 2010

1:01

7:51

11:53


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 35

0:00

2:00

4:00

6:00

8:00

10:00

12:00

14:00

5:21

White

TV content

3:36

5:54

Black

1:48

Hispanic

Music

2:42 2:52 1:49

Computers

1:17 1:24

1:25 1:35

Total Media Exposure

13:00

9:14

Total Media Use

6:22

9:44

Source: Generation M2: Media in the Lives of 8- to 18-Year-olds, A Kaiser Family Foundation Study, January 2010

Video games

0:56

8:36

13:39


Appendix F: Page 36

CKME STRATEGIC PLAN / 2011-2015

Attachment 5.A. EXTERNAL STAKEHOLDER PERCEPTIONS – NATIONAL

35


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 37

◦ Additional services that could be offered by CKME

◦ Perceived gaps in the communities’ music education infrastructure

◦ Current and future educational programming directions at orchestras

◦ Perceptions of CKME’s strengths and weaknesses

◦ Type and quality of past experiences with CKME

◦ Knowledge of existing CKME program offerings

A series of private interviews was designed to provide CKME with feedback from its primary client group, namely the American orchestra industry. Information was gathered on the following:


Appendix F: Page 38

CKME STRATEGIC PLAN / 2011-2015

Each interview was approximately 30 – 45 minutes. Responses have been aggregated in this report to protect the anonymity of the participants.

Over the course of four weeks between December 14, 2009 and January 13, 2010, the ACG team was able to interview eight current or former orchestra industry representatives and the creator of the original “Classical Kids” materials.

In late November 2009, CKME sent an introductory e-mail to ten individuals requesting their participation in a private phone interview to assist in CKME’s strategic planning effort.


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 39

Kansas City Symphony The Cleveland Orchestra Fort Wayne Philharmonic Save the Music Foundation Colorado Symphony Fresno Philharmonic

Frank Byrne, Executive Director Joan Napoli-Katz, Director of Education J.L. Nave, Executive Director Chiho Okuizumi, Program Coordinator James Palermo, President Don Reinhold, Executive Director Jason Shadle, Manager of Youth & Family Programs Eddie Walker, Executive Director

The Philadelphia Orchestra Oklahoma City Philharmonic

Classical Kids

Sue Hammond, Creator

Interviewee Listing


Appendix F: Page 40

CKME STRATEGIC PLAN / 2011-2015

◦ ◦ ◦ ◦

Youth Orchestra Open rehearsals Concerto Competitions Programs for young children i.e. Head Start

Others mentioned

Full Orchestra Concerts for School Groups Family Concerts Ensemble Visits Residency/Mentor Programs


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 41

CD’s of music to be performed at the concert

◦ Content typically created by Orchestra education staff with some input from Board Education Committee or teachers ◦ Most lesson plans are tied to state curriculum standards ◦ Information usually distributed via mail or electronically

Teacher’s Guide with lesson plans to accompany program:


Appendix F: Page 42

CKME STRATEGIC PLAN / 2011-2015

ď ˝

ď ˝

A few orchestras reported offering arts integration workshops for non-music specialists

Most orchestras offered annual teacher training workshops to review program lesson plans, usually multiple times a year


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 43

◦ ◦ ◦ ◦

Video conferencing (for teachers) Distance learning (for students) New website with streaming video elements/podcasts Incorporating services such as Skype and Itunes

Possible activities being explored in the next 3 – 5 years include:

◦ Most offered downloadable lesson plans/teaching guides

A large majority of those interviewed currently had little or no technological offerings in providing online education content


Appendix F: Page 44

CKME STRATEGIC PLAN / 2011-2015

“We’re always challenged to find something for middle schools, but likely not orchestral based.”

“Diversity is our greatest challenge. We’re in a 50% Latino market, but we haven’t done anything. Next year we’re launching a bilingual program about music of the Americas.”

“We’re seeing more split weeks and smaller ensembles (50 players rather than 100+). Smaller orchestras are easier for us to program.”


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 45

Turnkey programs –

Very professional - “…most professional we work with”

Quality of Scores & Scripts

High Praise for Actors

“..no time wasted in rehearsal” “Great with the details.”

Efficiency –

“Complete piece of mind in working with them”

Easy and fun to work with, flexible

“They set the standard” “Best performed shows that we do”

High quality productions -


Appendix F: Page 46

CKME STRATEGIC PLAN / 2011-2015

“Programs are not multi-cultural. How do CKME programs relate to current interests of students and educators?”

“We had a tough time determining how the recording items would translate to what would be on stage. Little bit of a disconnect.”

“I’d like to see additional composers offered.”

“Why don’t I know more about CKME? They should examine their marketing approaches. They need more promotional support.”

“It’s difficult to have one program address multiple age groups.”

“It’s hard for us to offer more similar programs because we probably wouldn’t utilize so many theatrical based programs. “

“The ability to offer longer music excerpts without actors talking over them would be great.”


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 47

“They should concentrate on reaching University students studying to be teachers.”

“Can CKME offer a Music Appreciation Certificate program for general classroom teachers?”

“They should remain focused on programs for younger students, since that’s their strength.”

“Would they consider offering theater workshops to take advantage of their quality actors?”

“An interactive online experience would be really wonderful. As long as it’s affordable for users.”

For those who present CKME on their family concert series, there was interest in pre-concert activities that tie into the program.


Appendix F: Page 48

CKME STRATEGIC PLAN / 2011-2015

Attachment 5.B. EXTERNAL STAKEHOLDER PERCEPTIONS – LOCAL/REGIONAL

47


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 49

◦ Knowledge of existing CKME program offerings

◦ Role that technology could play for students and teachers

◦ Professional development needs of teachers

◦ Resource materials needed by students

◦ Identification of “model” programs in the region

◦ Perceived gaps in the Chicago/Illinois’ music education programs

A series of private local/regional interviews was designed to provide CKME with feedback from its future options and opportunities from its base in Chicago. Information was gathered on:


Appendix F: Page 50

CKME STRATEGIC PLAN / 2011-2015

Each interview was approximately 45 minutes. Responses have been aggregated in this report to protect the anonymity of the participants.

Between January 19 – 31, 2010, the ACG team was able to interview 14 Chicago-area arts and educational leaders.

In mid-December 2009, CKME sent an introductory e-mail to 17 individuals requesting their participation in a private in-person interviews to assist in CKME’s community engagement effort.

Methodology – Chicago Interviews


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 51

Welz Kauffman, President & CEO

Bob Fiedler, Executive Director Music Ra Joy, Executive Director

Tatiana Gant, Director of Arts-in-Education Jennifer Armstrong, Director of Community Arts Development Programs Henry Fogel, Dean, Chicago College of Performing Arts Heather Houdack, Executive Director Symphony Frank Baiocchi, Program Officer Leslie Combs, District Director

Duffie Adelson, President William McClellan, Curriculum Supervisor Music Education David Roche, Director, Arts Education Michael Dorf, Attorney and Board Member Council Alliance

Ravinia Festival

Illinois Arts Alliance

The Polk Foundation Congresswoman Jan Schakowsky The People’s School of

Roosevelt University Chicago Youth

Illinois Arts Council

NEA Chairman Nominee Illinois Arts Council

Chicago Public Schools Chicago Public Schools Illinois Humanities Illinois Arts

Merit School of Music

Methodology – Chicago Interviews


Appendix F: Page 52

CKME STRATEGIC PLAN / 2011-2015

“There needs to be a chain link in music education, but at any point in any given school, the chain can be broken. Early access is needed. You have to meet each school where it’s at in the continuum.” “Integrated programs are needed rather than those that are done once.” “CPS is decentralized (1987), so every school has its own Local School Council elected every 2 years that hires principals and establishes priorities.” “CPS is an insurmountable bureaucracy. “No music requirements exist in grades K-8 and only 1 year of music AND art in grade 9-12 (Chicago - IL is 1 year of music OR art).” “Schools smaller than 750 only are required to have a half-time teacher and those over 750 a full-time teacher.” “Access and equity – 20% of schools in the state have no arts education programs.” “School schedules are so tight because of No Child Left Behind that there is little time for more.” “Advocacy efforts for music education in schools.” “Chicago Community Trust has faded in its leadership in arts education funding.”

Perceived Gaps in Chicago/Illinois Music Education


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 53

MODELS/RESOURCES Magnet, charter, classical, and gifted schools CPS Curriculum Guide, Office for Academic Enhancement High Schools - Niles North, Niles West, Greely, Hubbard, Kelly, Jones, Lane Tech, Roosevelt, Curie, Chicago Arts, Northeastern, Lincoln Park, New Trier, Highlands, Aurora Elementary Schools – Stone Academy Community – Merit, Peoples’, Consortium of Chicago Community Music Schools, Urban Gateways, Reading in Motion, Chicago Children’s Choir Regional – Chicago Symphony, Ravinia, Lookingglass Theatre, Chicago Humanities Festival Advocates – Illinois Music Education Assn., Chicago Area Learning Initiative (CALI), Chicago Arts Public Education, Arts Alliance Illinois, Illinois Creates Coalition National – Theolonius Monk Institute UNDERSERVED Neighborhood schools High Schools – Fenger, Senn (Naval Academy), Edgewater, Rogers, Uptown

Music Education Programs/ Players in the Region


Appendix F: Page 54

CKME STRATEGIC PLAN / 2011-2015

Professional development Online learning capabilities Organizations that can provide CPU’s (continuing education credits)

Race to the Top – 21st Century effort

BOTH  Show how entire system impacts student and teacher learning.  Build learning communities in schools.

TEACHERS  “Huge needs!”

STUDENTS  “Everything!”  CD’s  Piano labs  Instruments (“When a school music program closes, no one knows where the instruments go.”)

Student and Teacher Resources Needs


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 55

“Many CPS schools don’t have the technology.”

“Online tools to meet composers/musicians.”

“Professional development in online learning for teachers (i.e. CSO, Ravinia, Lookingglass Theatre).”

“Technology can supplement, but not replace, the in-person interaction that is needed. It would be questionable to do only online classes for students.”

“Suburban districts (i.e. Niles North and West) are more cutting edge than Chicago Public Schools. There is a huge gap at CPS.”

“A Huge role – Niles North uses Macs to digitize music and Skokie is effectively using $ well to prioritize its students’ needs”

Role Technology Does or Should Play for Students and Teachers


Appendix F: Page 56

CKME STRATEGIC PLAN / 2011-2015

Strategic partnerships vs. outsourcing education programs: … the programs must be integrated and organizations sustainable in order to be funded:  Partner with local orchestras (Northbrook, Ars Viva, Lake Forest, Elgin)  Grant Park Symphony needs a year-round presence w/ education  Chicago Chamber Musicians could be a good connection  Decatur – partner with Regional Arts Council here (and elsewhere)  Partner with theater education programs/associations Schools:  Target a “cluster” – magnet, charter, classical, or gifted  Use the gifted teaching artists that are available  Focus on late-elementary and early junior-high  Work with experienced schools first, so that the program can be successful  Suburban schools (i.e. Naperville, LaGrange, Riverside, Wheaton, Skokie, North Shore) would love the CKME program and PTO’s/PTA’s would likely help fund it  Integrate into the rest of the curriculum  Focus on underserved schools

Recommendations to CKME from Interviewees


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 57

Logistical  Ensure that legal, product licensing, ownership, etc. is addressed

Advocacy  Get a strong political advocate (i.e. alderman) to help get into particular school(s)

Recommendations to CKME from Interviewees


Appendix F: Page 58

CKME STRATEGIC PLAN / 2011-2015

“I know little or nothing about them.” “I’ve met Paul and generally know what they do.” “They were engaged by the Chicago Symphony.” “They are creative and allow for different points of entry and the programs are very accessible.” “It is national but no with programs here in Chicago.” “Great commercially with programs like Beethoven Lives Upstairs with a niche nationally.”

Knowledge of Existing CKME Programs


CKME STRATEGIC PLAN / 2011-2015

Appendix F: Page 59

1. CKME is better known nationally, with a quality reputation, than locally. 2. Great needs exist in the development, delivery, and distribution of music and arts education programs locally, regionally, and nationally. But there is no real consensus on the best next steps or approach. 3. Getting to children early and often is the key. 4. Finding the right partners (i.e. schools, orchestras, principals, etc.) is critical. 5. Funding will be a challenge.

Conclusions


5611 North Wayne Avenue, Suite 1 Chicago, IL 60660 T: (773) 828-4448 www.ckme.org info@ckme.org

Strategic Plan / 2011-2015  

The Strategic Plan / 2011-15 serves as a guide for Classical Kids Music Education, a Chicago-based non-profits music education organization,...

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