Reach Out

‘n’ Rock OutAccount Executive: Sarah Hopkins

Client Relations Director: Jacquelyn TestaCreative Director: Lindsey Chiles

Media and Issue Director: Carter Holland Programming Director: Mallory Pound

Research Director: Kimberly Woodcock

ROCKTOWN MUSIC COLLECTIVE

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Table of ContentsExecutive Summary

Secondary Research ReportClient Background (Internal Environment)History and Current Trend of the Issue Key Findings from Existing Academic Research Local and National Leaders Competitive Frame Local/National Media View of Issues Relevant Regulation Changes Relevant Political Changes Relevant Financial Changes Relevant Technological ChangesPublics Analysis Public Segmentation Volunteers DonorsUseful Insights for ClientWhat Information Remains to be Obtained?

Primary Research ReportResearch Questions for Primary ResearchMethodology Survey Research Sample Procedure Operationalization of VariablesResults Statistical Analysis from Survey Research Research Question 1 Research Question 2 Research Question 3 Research Question 4 Research Question 5Practical ImplicationsLimitations

SItuational AnalysisStrengths, Weaknesses, Opportunities and Threats to RMC Strengths Weaknesses Opportunities Threats

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Problem and Opportunity StatementsKey Publics JMU Underclassmen (Freshmen and Sophomores) JMU Students Involved in Music JMU Students in the College of Visual and Performing Arts (CVPA)Similar Cases “Making Sweet Music with MacPhail “Because Every Kid Deserves One (B.E.D)”

Campaign ProposalGoals and Objectives SloganPrimary MessagesStrategies and Tactics Strategy One Interpersonal Communication Tactics Organizational Media Tactics News Media Tactics Advertising and Promotional Media Tactics Strategy 2 Interpersonal Communication Tactics Strategy 3 Interpersonal Communication Tactics Strategy 4 Interpersonal Communication TacticsStrategy and Tactic Calendar Budget TableEvaluation Plan ReferencesAppendix A

Table of Contents Continued

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Table of Figures

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Figure 1: RMC LogoFigure 2: Arts CouncilFigure 3: Staunton Creative Community FundFigure 4: The Community FoundationFigure 5: National Association for Music EducationFigure 6: Virginia Commission for the ArtsFigure 7: National Endowment for the Arts Figure 8: Shenandoah County Public SchoolsFigure 9: YouTubeFigure 10: RMC’s Latent PublicsFigure 11: RMC’s Apathetic PublicsFigure 12: RMC’s Aware PublicsFigure 13: RMC’s Active PublicsFigure 14: Survey Results: GenderFigure 15: Survey Results: Class RankFigure 16: Survey Results: EthnicityFigure 17: External Factors and Desire to VolunteerFigure 18: Best Outreach MethodsFigure 19: SWOT ChartFigure 20: MacPhail CenterFigure 21: MacPhail Center EventFigure 22: B.E.D. EventFigure 23: B.E.D. Fundraising EventFigure 24: Rocktown Music Collective Campaign LogoFigure 25: RMC Sample FlyerFigure 26: RMC Sample PresentationFigure 27: Example of RMC Collateral: CupFigure 28: Example of RMC Collateral: PenFigure 29: Example of RMC Collateral: StickerFigure 30: Example of RMC Collateral: T-ShirtFigure 31: RMC Sample Facebook Post

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Executive SummaryDue to the infancy of Rocktown Music Collective (RMC), there is an overall lack of awareness of the organization among its target publics, as well as an ambitious mission to reach a vast number of people but with extremely limited resources, finances and volunteers.

Primary outreach efforts and relationship establishment are necessary steps to take in order to move forward with recruiting volunteers, donors and participants for RMC.

One of those first steps to move forward is finding an accessible, interested and motivated pool of volunteers to help put the cultural, musical and community values of RMC into action.Reach Out ‘n’ Rock Out is Rockingham Relations’ campaign proposal for recruiting from a promising and accessible pool of potential volunteers: JMU students. Broken down into three key publics: JMU underclassmen, JMU students who are involved in music and JMU students who are in the College of Visual and Performing Arts (CVPA), the Reach Out ‘n Rock Out campaign is designed to raise awareness of RMC among potential volunteers and highlight the impact volunteering could make on bringing the RMC mission/vision to life in the community.

Through setting up a booth at the JMU Block Party during FrOG week, securing features in The Breeze and WXJM, partnering with on-campus cultural organizations and hosting band showcases/other musical events on-campus, among other things, the Reach Out ‘n Rock Out campaign is comprised of various tactics to interact with the targeted JMU student publics on interpersonal, digital and musical outreach levels and ultimately increase the number of JMU student volunteers for RMC.

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Secondary Research

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RMC LOGO

Client Background (Internal Environment)Rocktown Music Collective (RMC) was founded in 2016 by Jon M. Stapleton, a James Madison University (JMU) graduate student, and Dr. David Stringham, a Professor in the Music Department at JMU. This nonprofit organization aims to connect the musical community within the Shenandoah Valley with those who live in the area for culturally diverse music interaction. According to Rocktown Music Collective’s Business Plan (Stapleton, 2016), this organization’s primary mission is to facilitate inclusive and culturally relevant opportunities for persons in the Shenandoah Valley to develop flexible and multi-dimensional musicianship through the learning, performing and teaching of music. This organization visualizes a community in which members are empowered to realize their personal goals for lifelong participation in music. RMC is managed by a board of trustees and the founder, Jon Stapleton. There is also a handful of volunteers who function to implement the programs and services offered by RMC in the Shenandoah Valley. As the organization’s management and internal publics are eager to enhance and expand its brand awareness, they are supportive of nearly all feasible public relations activities (Stapleton, 2016). This is why they are looking to Rockingham Relations to steer them in the right direction of honing in on their target publics through suggested strategies and tactics. The ultimate goals of RMC and Rockingham Relation’s partnership is to strengthen the awareness of JMU students with desires to volunteer in their communities about RMC and the services that it offers and to create a positive relationship between RMC and JMU students who desire to volunteer in their communities. In terms of an online presence, Rocktown Music Collective only has activated Facebook and Twitter accounts. The organization has a disabled website link and does not offer any print materials or other content. For branding purposes, RMC has a logo and color scheme (Stapleton, 2016). The logo and color scheme are used on the Facebook and Twitter pages. There are a few obstacles RMC is facing from internal aspects that are hindering its current success. Discussed in the Marketing Plan of RMC’s Business Plan, RMC is seeking a relationship between the community and collective, but one of the main obstacles is the fact that it does not yet have many volunteers or donors. These particular publics are considered to be two of most crucial players in RMC’s overall success. Another obstacle is that it does not have a large following or social media presence. Therefore, there is little to no general awareness of this organization by social media users in the Shenandoah Valley beyond the 200 or so “likers” of the Facebook page. Essentially any form of increased communication will be an opportunity for RMC. These obstacles are not deliberate; they are mostly due to lack of awareness about RMC and its sheer infancy. So far, there have been no public relations efforts initiated within this organization beyond posting on the RMC Facebook page.

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Figure 1

History and Current Trend of the Issue The basis for the existing information obtained by the client is that there is a need for community-focused music education in the Shenandoah Valley. Unfortunately, institutions that offer opportunities to learn about and perform music are often restrictive, and exclude people who would otherwise make valuable musical contributions to the community that they live in (Elliott, 2003). The issue has developed in the U.S. because music teachers often specialize in Western European Classical Traditional music while obtaining their certifications, while students today engage with music made by people who value their own culture and identity, with more of a pop-culture approach (Elliott). These two perspectives align for some students; for others, they are mismatched. Too often this misalignment falls along cultural, linguistic, or racial lines (Elliott). These institutional tensions have led to a primarily white, middle class population of music educators at both the K-12 and higher education levels. This is a regional issue that has had little recognition within past years. Community music may provide channels for development and an opportunity for music teachers to redefine how music should be taught and the benefits music education presents (Dabback, 2010).

Key Findings from Existing Academic Research

Existing academic research has shown that nonprofit organizations have started to adopt business-like techniques. They focus on their competitors and ways in which they can improve themselves, while looking for sources of funding (Dolnicar & Lazarevski, 2009). The second finding illustrated that a “customer-centered” mindset can be used to gain a detailed understanding of the nature of marketing operations undertaken by nonprofit organizations internationally. Nonprofit customers that are targeted include clients, patrons, patients, donors, volunteer workers, advocates, trustees, committee members, local government inspectors and the local community. It has become necessary to adopt a marketing orientation where marketing both begins and ends with the customer (Dolnicar & Lazarevski, 2009). A customer-centered mindset focuses on understanding the customer’s’ needs, wants and perceptions. The organization places the customer at the center of everything the organization does. Dabback (2010) identified what characterizes a community music program: culturally relevant and responsible practices in addition to a focused mission on lifelong learning. Dabback addressed the research that participation in a community music group requires a measure of trust from its members. A community that supports learners through mentorship and positive feedback depends on intricate webs of trust and responsibility. A breakdown of motivation for community music program volunteers in the Shenandoah Valley revealed that each volunteer who was interviewed negotiates issues between their personal need for musical excellence and their desire for broad inclusion. Some are conflicted in deciding if their focus should be on the needs of their musicians or the desires of what audiences want to hear. For instance, the nature of a jam session is more of a performance that the musicians do for themselves, whereas big bands perform for the audience in concerts and church musicians perform for the purpose of communal worship (Dabback). There is also value in tapping into university music programs to be involved in the local music scene: “it seems to me that university music schools might be wise to expand their institutional concepts of ‘music education’ by embracing community music paradigms, values, and processes, and by accepting

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students as prospective ‘community music workers’,” (Elliott, 2003, p. 33). Local universities are homes to large numbers of students with a plethora of interests, skillsets and passions. Connecting with that population of people would allow music organizations to potentially connect with people eager and willing to share their passion for music with those in their community through donating their time, talent and treasure.

Local and National Leaders

The locally recognized leaders that seek to support arts-focused nonprofits include the Valley Arts Council, the Staunton Creative Community Fund, the Community Foundation of Harrisonburg and the Red Wing Roots Foundation (Stapleton, 2016). Additionally, the Virginia Commission for the Arts “is a state agency that supports the arts through funding from the Virginia General Assembly and the National Endowment for the Arts,” (Virginia Commission for the Arts, 2012, “About us,” para. 1). Since the Virginia Commission for the Arts is a state agency, it has credible backing, a strong source of funding and prominent presence in the Virginia arts scene. Fostering a relationship with this Commission could prove to be financially and resourcefully beneficial for RMC. A cultural local leader is the Harrisonburg International Festival. The mission of this festival is “to celebrate the diversity of Harrisonburg and the

surrounding communities by providing a friendly forum in which cultural groups can showcase their cultural and linguistic values as a means to educate the larger community and to support awareness for their presence and contribution;” a mission that complements that of RMC (Harrisonburg International Festival, 2017, Festival Info, para. 1). The free event brings food, dance, music and other activities from all over the world to downtown Harrisonburg. It was first held in 1997 and continues to be an annual event growing in size each year (Harrisonburg International Festival). In addition to the International Festival, Harrisonburg City as

a whole is a local cultural leader as it is an official Church World Service refugee resettlement community (Perrine, 2017). Students from over 46 countries attend

Harrisonburg Public Schools resulting in a wide range of culture and diversity in schools and the community (Perrine). Support for these cultures was evident when over 30 volunteers from various churches in the community donated food to the Islamic Center of the Shenandoah Valley after President Trump’s executive ordering banning travel from seven Muslim-majority countries (Perrine). Harrisonburg is a city that encourages people to shop small, dine locally and explore the history and arts throughout the city, with the

Harrisonburg Downtown Renaissance initiative keeping this spirit alive.This supportive nature of local efforts and organizations should assist RMC in forming partnerships and creating a personality in the Harrisonburg community. Harrisonburg Downtown Renaissance spearheads many events including food and beer festivals, concerts, markets,

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ARTS COUNCIL

Figure 2

STAUNTON CREATIVE COMMUNITY FUND

Figure 3

THE COMMUNITY FOUNDATION

Figure 4

and seasonal celebrations downtown (Harrisonburg Downtown Renaissance, n.d.). This “pro-local” organization could prove to be a huge resource and gateway to potential partnerships in the Harrisonburg community. On a national scale, the National Association for Music Education advocates on all levels of government for music education and provides resources across the nation that “have been largely responsible for

the establishment of music education as a profession, for the promotion and guidance of music study as an integral part of the school curriculum, and for the development of

the National Standards for Arts Education” (National Association for Music Education, 2017, “About us,” para. 2). The National Association of Music Merchants (NAMM) funds global music research, advocates for music education through the SupportMusic Coalition and funds music education experiences for people of all ages and skill levels (NAMM Foundation, 2017). Local celebrity Trent Wagner is an avid supporter and board member of RMC and has used his popularity to promote the Collective in the Shenandoah Valley. RMC is a nonprofit organization devoted to providing a welcoming environment for music learning, performing and teaching in the Shenandoah Valley. The Collective is viewed as an opportunity to honor musical passions by connecting with diverse peoples, music and perspectives. This is innovative and unique to the area. Although there are other organizations similar to RMC throughout the nation, there are few within the Shenandoah Valley and in this specfic niche.

Competitive Frame

There are several arts organizations in the Shenandoah Valley that aim to accomplish similar goals as RMC. The Rockingham Council for the Arts, Any Given Child, the Heifetz Institute, the Shenandoah Valley Children’s Choir and Larkin Arts Center all operate with the goal of availing arts experiences to community members, “though few are specifically focused on music learning, performing, and teaching opportunities in genre/culture-agonistic contexts,” (Stapleton, 2016, p. 7). Through additional research, it was found that the Valley Educational Center for Creative Arts (VECCA), Shenandoah Valley Art Center, and Rock Room are also organizations in the community that value both the arts and community. VECCA could be RMC’s closest competitor; its mission is: “[VECCA] is dedicated to bringing the arts and the community together through educational and cultural programs. By utilizing the skills of professional instructors and talented area residents, an opportunity is created for persons of all ages to pursue the arts and develop their creative skills to whatever degree they desire, and to exhibit or perform those skills. By creating an awareness of the arts we hope to inspire and encourage creativity and develop an active cultural environment throughout the Shenandoah Valley” (Valley Educational Center for Creative Arts, 2010). This has many similarities to RMC, most notably the cross-focus on arts and community through cultural programs and the all-accepting approach to welcoming skills of all levels. The Shenandoah Valley Art Center has a bigger scope with a focus on being a visual arts center, providing studio space and galleries for its members, but it too is a nonprofit focused on uniting community with the arts (Shenandoah Valley Art Center, n.d.). Rock Room is based in Winchester, Virginia and provides similar music education services to the Shenandoah Valley community as RMC, but with a more narrow focus. As described on Shenandoahmusic.com (n.d.), “The Rock Room is an opportunity for musicians, who have already learned the basics, to

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NATIONAL ASSOCIATION FOR MUSIC EDUCATION

Figure 5

meet, form bands, learn songs, live performances,” (Shenandoahmusic.com, “Rock Room Winchester Virginia,” para. 1). Rock Room offers 12 1-hour classes followed by a live performance upon completion. The instructional element, variety of collaboration options and geographic span are some of the main similarities between Rock Room and RMC; the primary difference is that this is more of a traditional for-profit music instruction organization.

Local/National Media View of Issues

The local media and government seeks to develop strong educational resources throughout the state of Virginia (Virginia Commission for the Arts, 2012). The Virginia Commission for the Arts is committed to building and improving cultural infrastructure by recognizing artists, art entrepreneurs, businesses and institutions throughout Virginia. Local government and organizations feel a responsibility to ensure that the arts remain a prominent role in lives of those who are passionate about music but may not have the appropriate funding. A grant was created to allow opportunities for artists to grow and share their art. The grant was also established to broaden arts education for children. This grant is available to any nonprofit organization. James Madison University’s on campus club, Furious Flower Power Poetry Center has received funding from the Virginia Commision for the Arts within the past five years (Virginia Commission for the Arts). The issue has resources and outlooks that can help to improve the difficulties. National media coverage of music education reveals mixed emotions about its value. Many large-scale national publications either unintentionally advocate for music education by including stories showcasing efforts made to enhance music education and informing readers of the many benefits associated with it (Tom, 2017) or highlight the nation-wide trend of music education programs’ budgets being slashed or programs being eliminated altogether (Burns, 2017). National media is more likely to discuss the financial issues surrounding music education in the country by merely familiarizing publics about the issues at hand, the occasional opportunities to get involved and how others might be fighting the good fight. Although it does get some notable national coverage, the music education industry is primarily spoken about more frequently and more positively in smaller-scale, more localized publications.

Relevant Regulation Changes

One recent piece of legislation focused on music and community is the Music National Service Initiative (MNSi). It was created to promote music “as a strategy for public benefit in education, health and community resilience,” (Music National Service Initiative, 2017, “Our story,” para. 1). MNSi and Congress collaborated to write and pass legislation that would “make musicians and artists eligible for AmeriCorps funds,” (Music National Service Initiative, “Our story,” para. 1). This initiative displays the joining of forces of a music organization, the government and nonprofit organizations. In sum, there are various partnerships on the national level that are dedicated to supporting music in the community through

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VIRGINA COMMISSION FOR THE ARTS

Figure 6

initiatives and legislation for funding. Another regulation change that may affect nonprofit organizations in general is the Overtime Regulation and the impact it could have on a nonprofit. The regulation states that the standard salary level will increase from $455 to $913 per week (National Council of Nonprofits, 2017). This creates a concern because many of the volunteers are adults who need to be making money. Many nonprofits gain support and help through donation and service. It may become necessary for volunteers to cut back on the hours spent on service with the Collective because of this policy change.

Relevant Political Changes

One political situation that relates to RMC is the ongoing debate about the value of the arts in schools. There is a continual discussion on the need for music/arts education and whether or not it is “worth” it to invest in such programs within schools while other programs and initiatives are also suffering (Walker, 2012). In a 2007 study performed by the National Endowment for the Arts (NEA) (Catterall, Dumais & Hampden-Thompson, 2012), it was found that economically disadvantaged children who had access to arts education either in or outside of school “have better academic results, better workforce opportunities, and more civic engagement,” (Walker, 2012, para. 7) than those who did not. Furthermore, “students who had intensive arts experiences in high school were three times more likely than students who lacked those experiences to earn a bachelor’s degree. They also were more likely to earn ‘mostly A’s’ in college,” (Catterall et al., p. 16, para. 1). These are just two statistics that show the benefits of arts education for students of all socioeconomic backgrounds that extend into adulthood. The NEA also acts as a leader in the music education sector as it provides heavy financial support for various initiatives. In 2015, for its 50th anniversary, the NEA launched a program called Creativity Connects in order to “contribute to the nation’s creative ecosystem and [show how] the arts can connect with other sectors that want to utilize creativity,” (Chu, 2015, p. 3). The agency is continuing to make strides in the arts world, despite federal pushback against the arts and a national lack of interest. Despite the NEA’s large role in supporting arts programs nationwide, President Donald Trump’s first proposed budget plan slated the complete defunding of it. Since being created in 1965 by President Lyndon B. Johnson, this was the first time such an endowment was proposed to be defunded (Deb, 2017). The NEA received approximately $148 million of funding last fiscal year, only a sliver of the approximate $4 trillion federal budget (Naylor, 2017). NEA funding reaches every state, every congressional district and most counties in the nation. Grants from the NEA support programs in schools, libraries and military bases (Gioia, 2017).

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NATIONAL ENDOWMENT FOR THE ARTS

Figure 7

Relevant Financial Changes

Similar to the political situation, there have been overall funding cuts to public schools across the United States, which not only affects schools as a whole, but oftentimes, music programs directly. Arts programs are often the first to go when budget cuts take place in a school system, making community music education organizations all the more desirable and in-demand. One extreme but not uncommon instance of these budget cuts took place in the Chicago Public Schools system. The schools laid off over 1,000 teachers after deciding to close over 50 schools; 10 percent of those let go taught art or music (Hambek, 2016). As a result, many schools have turned to a mix of private and public funds as well as patrons of the arts to provide arts education experiences for school-age children: “there has also been a growing trend of nonprofit arts organizations setting aside more funding for arts education and outreach to local schools. These efforts have included partnerships between orchestras and schools, such as OrchKids, an educational program run by the Baltimore Symphony Orchestra,” (Hambek, para. 5). The future of grants, endowments and budgets for arts education is not projected to be great. Holly Sidford for the National Committee for Responsive Philanthropy, remarked about a 2009 report she conducted examining where gifts and grants to arts organizations went; she found that it is only getting worse and that the majority of monetary support goes to the renowned, big institutions as opposed to small-town, local organizations (Horwitz, 2016). Specific to the Shenandoah Valley, Shenandoah County schools saw a

50% cut of musical program funding in 2011, and now only have $15,000 to fund the music program (Keelor, 2015). Despite the slashed budget, there has been an over 20 percent increase in interest among students in joining the school band and choir since 2008 (Keelor). In 2015, the Board discussed plans to reexamine the music program budget for 2015-2016 as new uniforms were needed and instruments needed replacement. This displays a care for and hope to support the music program, but still cautions that there are other budgetary needs that take priority.

Relevant Technological Changes

YouTube and application music education tutorial videos are taking away the need for in-person music instruction. According to a 2015 Pew Research Center study of teens ages 13-17, “92% of teens report going online daily — including 24% who say they go online ‘almost constantly’,” (Lenhart, 2015, para. 2). In terms of which social media outlets teens use most, “Facebook remains the most used social media site among...with 71% of all teens using the site, even as half of teens use Instagram and four-in-ten use Snapchat,” (Lenhart, para. 5). These findings are relevant for a few reasons. First, it is insightful to know where a portion of RMC’s target participants spend their time online. Second, it supports the notion that technology is not going anywhere and it is very prominent in the vast majority of people’s everyday lives,

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SHENANDOAH COUNTY PUBLIC SCHOOLS

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YOUTUBE

Figure 9

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Publics AnalysisAfter meeting with our client and accessing RMC’s Facebook page, we found that RMC’s current recognition around the community is minimal. There is no indication of a largely positive or a largely negative reputation for this organization. Local media coverage of RMC, including social media activity, is also minimal. There is no apparent local coverage of RMC in the local media and its Facebook following is small. Local events hosted by RMC are announced on the social media channels, but do not reach the desired following due to the minimal amount of community members who “like” and follow the page and it’s updates. RMC does not have any other social media channels to reach out to its publics, and its website appears to be inaccessible.

Public Segmentation

Latent Publics: this public includes members of the community who are not aware of the issue that RMC is facing - a lack in organizations that offer interactive, interpersonal, community music experiences - nor are they motivated to ameliorate this problem.

These individuals are are unaware of the existence of and services provided by RMC. They may not have read, heard or come across RMC in their circles and have no awareness of this brand or they believe that in-school and private music education does not need to be altered.

including when, where and how someone wants to learn how to play music. There are endless music tutorials on the internet that could potentially take away from the use of community organizations like RMC because YouTube tutorials are free, easily accessible and can be paused, rewound and replayed from the comfort of one’s home (Reed, 2012). In fact, in 2011 “all top 10 searches on YouTube with the word ‘lesson’ in them were music related, and searches for guitar tutorials jumped 50% in 2011 from 2010,” (Reed, para. 2). Oftentimes, people look to YouTube for music instruction because it is a convenient way to receive free music lessons as opposed to traditional music lessons that come with an hourly, sometimes lofty, fee. Looking to the future, there will be an opportunity for YouTube account holders to live-stream, which would allow for real time music lessons with instant feedback, commentary and the opportunity to ask questions in real time as if a learner and music instructor were in the same room (Reed).

Parents Teachers College Students

Children Adults Musicians Nonprofits CommunityOrganizations

RMC’S LATENT PUBLICS

Figure 10

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Apathetic Publics: this public includes members who are aware of the issue that RMC is facing but do not care/try to help to ameliorate this problem.

These individuals are aware of RMC and/or the opportunity for community music education, but not involved/not interested in supporting RMC, or perhaps, arts education.

Aware Publics: this public includes members who are aware of RMC and the issue that it faces but are not motivated to try to ameliorate this problem

Active Publics: this public includes members who are not only aware of RMC and the issue that it faces but are motivated and willing to help ameliorate this problem.

These individuals are who are currently supporting/planning to support RMC.

Shenandoah ValleyCommunity Members

Past participants and supporters of RMC

Current social media followers of RMC

Fellow nonprofit orgs and businesses in the

Shenandoah Valley who have collaborated with

RMC

CurrentParticipants

CurrentVolunteers

CurrentDonors

Musicans Board Members

Music Venues

Community Centers

RMC’S APATHETIC PUBLICS

Figure 11

RMC’S AWARE PUBLICS

Figure 12

RMC’S ACTIVE PUBLICS

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Volunteers

After meeting with our client, we identified volunteers as a critical public that needs to be addressed throughout this campaign. In order for RMC to initiate musical programs and activities in the Shenandoah Valley community, volunteers from the area are crucial to achieving success. As of 2015, interest in volunteer opportunities in the United States were at its lowest rate in decades falling to 24.9% of the population taking part in at least one volunteer experience throughout the entire calendar year (U.S. Bureau of Labor Statistics, 2016). In terms of who is volunteering, “35- to 44-year-olds and 45- to 54-year-olds were the most likely to volunteer (28.9 percent and 28.0 percent, respectively). Volunteer rates were lowest among 20- to 24-year-olds (18.4 percent). Teenagers (16- to 19-year-olds) continued to have a relatively high volunteer rate, at 26.4 percent,” (U.S. Bureau of Labor Statistics, “Volunteering Among Demographic Groups,” para. 2). The fact that college-aged people are least likely to volunteer is a crucial statistic for RMC to know and consider when forming outreach methods. To combat this declining interest and increase RMC’s volunteer base, there are opportunities to reach out to the James Madison University student population through the over 300 music and non-music based on-campus organizations, as well as students studying the arts and the general student population (Student Activities & Involvement, 2016). Volunteers fall under the active segment, because they are prepared to take action and support the collective or have already organized actions to help RMC.

Donors

We also found that funding is another critical component to RMC’s success. As a nonprofit organization, many of the services and events that RMC offers are not possible without monetary donations. According to the Corporation for National and Community Service, about 9% of the country’s population was engaged in music, performance and other arts related community service activities in 2015 (Corporation for National and Community Service, 2015). The corporation also states that in 2015 almost 80% of volunteers of an organization were likely to donate to the efforts. To engage the JMU population in this type of donor behavior, the same population of JMU students can be reached. By connecting with this section of the community, awareness can be brought to the surrounding community through fundraising to bring in monetary donations. Donors are considered an aware public in this situation, because they have knowledge of how important the organization could be to the community but they have not yet acted on that knowledge.

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Useful Insights for Client1. Research has indicated issues of participation in community music programs include recruitment, at-

tracting new participants to the group; preservation, carrying on the organization when current leaders are no longer involved; and ownership, whether or not there will be someone who assumes an authori-tarian role to direct the program (Dabback, 2010, pp 219-222) (see Rockingham Relations, pg. 4).

2. Nonprofit organizations of the twenty-first century have managed to make the transition from an organi-zation-centered marketing philosophy to a consumer-centered or market-oriented philosophy (Dolnicar & Lazarevski, 2009) (see Rockingham Relations, pg. 4).

3. Over the past decades, nonprofit organizations have slowly been introducing marketing into their ac-tivities, realizing that it may help them achieve their organization’s mission and as nonprofits are chal-lenged by more complicated decisions than for-profit organizations survival is dependent on careful application of marketing management tools (Bendapudi et al., 1996). It has also become necessary to adopt a marketing orientation where marketing begins and ends with the customer (Gonzalez et al., 2002) (Dolnicar & Lazarevski, 2009) (see Rockingham Relations, pg. 4).

4. The work of nonprofit organizations is essential to maintain much needed services typically not provid-ed by the for-profit sector or the government (Dolnicar & Lazarevski, 2009) (see Rockingham Relations, pg. 4).

5. “Consider [community music (CM)] in relation to five issues: (a) the kinds of music and music making involved in a CM program; (b) the intentions of the leaders or participants in a program; (c) the charac-teristics of the participants; (d) the interactions among teaching-learning aims, knowledge, and strate-gies; and (e) interplays between informal and formal social-educational-cultural contexts (Veblen, 2007, p. 2) (see Rockingham Relations, pg. 4).

What information remains to be obtained? • Current public interest in RMC/a community music organization in this specific geographic area.• Potential volunteer climate in the Harrisonburg area• Reasons for JMU students to volunteer • Outlook on competitors and what their performance levels are.

PrimaryResearch

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Research QuestionsBased off secondary research and analysis of the client’s composition, operation and mission, Rockingham Relations created five research questions to assist RMC in making outreach efforts to one of their target publics, James Madison University students. The intention behind these questions was to assess the current volunteer climate among JMU students and gage the interest and/or willingness to volunteer in the community as well as if there was a value for the arts/arts education. Gaining insights to these aspects will assist the client in future outreach efforts. Research Question 1: What external factors affect JMU students’ desire and/or ability to volunteer?

Research Question 2: What communication outreach methods would best motivate JMU students to volunteer?

Research Question 3: How much do JMU students value the arts/arts education?

Research Question 4: Is there a correlation between valuing the arts and desire to volunteer?

Research Question 5: Is there a correlation between musical background and willingness to volunteer for a music education nonprofit?

MethodologySurvey Research

To answer the proposed research questions, researchers created a survey that was administered after IRB approval to one of RMC’s key publics, potential volunteers. A specific focus was put on students enrolled at James Madison University to better understand their willingness and motivation to volunteer. The sampling techniques used for these publics were non-random, specifically, convenience sampling. The survey was administered in both digital and print format. Digitally, data was collected in an online survey distributed on the James Madison University SONA system, bulk email and social media (Facebook). A printed version was collected in-person in various buildings on campus. The goal of the survey was to get a clear understanding of the value James Madison University students place on arts education, their intention to volunteer, their willingness to volunteer and what outreach methods would best motivate them to volunteer. The conclusions of these findings will assist our client, RMC in tailoring its efforts to effectively connect with James Madison University students.

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Sample

Researchers targeted students currently enrolled at JMU. The intent behind surveying JMU students was partially for convenience and access to research subjects, but also because of the large amount of student-run service groups and individuals looking for non-profit events to earn service hours. This population is an easily accessible resource available to RMC and is an ideal starter target population for an organization in its infancy and in immediate need for volunteers.

Procedure

The survey consisted of 28 questions and was created with Qualtrics. The questions ranged in topics covering prior volunteer history, previous musical exposure, willingness to volunteer, frequency of social media use, and demographic questions such as age, year in school, ethnicity and organizations the participant is involved in at JMU (See Appendix A). The survey was activated on Qualtrics and JMU’s SONA system on Tuesday, February 28, 2017. The SONA system allowed lower division Communication course students to obtain research participation extra credit (generally 1 credit hour per lower division class. Online survey participation is 0.5 credit hour). Researchers also shared a link to the Qualtrics survey on their personal Facebook pages on February 28, 2017. Additionally, the survey was distributed campus-wide through a bulk email system on Wednesday, March 1, 2017. Each researcher distributed hard copies of the survey around campus. On March 15, 2017, approximately 23 copies of the survey were distributed and completed in the Student Success Center and East Campus Dining Hall. Responses were collected and kept in a secure folder until being inputted manually into Excel and SPSS. Operationalization of Variables

We first measured JMU student’s past volunteer experience and reasoning for it by using the aforementioned survey. We focused questions around motivating factors to volunteer with many “check all that apply” questions to achieve the most well rounded sense of why JMU students volunteer. Value of the arts, opinion on need for music education in the Shenandoah Valley and willingness to participate in increasing musical interaction in local communities were measured through simple questions asking the respondent to indicate the personal importance of such factors. The final section before demographics assessed participant’s social media usage, news retrieval and channel preference for learning about opportunities in the community. Semantic differential scales and Likert scales were mainly used throughout the survey to best understand the degree of participant’s responses.

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ResultsStatistical Analysis from Survey Results:

There were 163 total survey responses, including the online version and paper version. Our respondents consisted of:

140 Women(85.9%)

23 Men

(14.1%)

SURVEY RESULTS: GENDER

Figure 14

SURVEY RESULTS: CLASS RANK

Figure 15

SURVEY RESULTS: ETHNICITY

Figure 16

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Research Question 1: What external factors affect JMU students’ desire and/or ability to volunteer?

The top five reasons respondents volunteered in their communities before were: The organization was of personal interest (N= 123, 76.4%), the respondent volunteered for community service (N= 120, 74.5%), the respondent wanted to give back to the community (N= 114, 70.8%), the respondent identified with/supported the organization’s mission (N= 103, 64%) and the respondent wanted to feel a sense of fulfillment (N= 92, 57.1%).

The vast majority of respondents (N= 158, 96.9%) indicated they would be likely to volunteer in their communities again. The top five reasons for being likely to perform service again were: The organization was of personal interest (N= 125, 79.1%), to give back to the community (N= 123, 77.8%), the respondent identified with/supported the organization’s mission (N= 112, 70.9%), to feel a sense of fulfillment (N= 103, 65.2%) and to connect with people in the community (N= 97, 61.4%).

Less than one quarter of respondents indicated being unlikely to volunteer again (N= 28, 17.2%). Not having enough time was the main reason they would be unlikely to volunteer again (N= 21, 75%), followed by not yet finding an organization of personal interest in which the respondent would like to support (N= 7, 25%).

Males and females have the same top two reasons for having volunteered before: the organization was of personal interest (N= 14, 63.6% of males and N= 109, 78.4% of females) and to get community service (N= 14, 63.6% of males and N= 106, 76.3% of females).

Freshmen (N= 22, 84.6%), sophomores (N= 23, 85.2%) and seniors (N= 44, 80%) indicated the organization being of personal interest as the main reason they volunteered before; a fewer percentage juniors (N= 29, 63%) indicated it as the main reason. The main reason for juniors volunteering before is volunteering for community service (N= 35, 76.1%).

Freshmen (N= 25, 92.6%), sophomores (N= 22, 91.7%) and seniors (N= 44, 81.5%) reported being most likely to volunteer again if an organization was of personal interest. The main reason juniors (N= 31, 68.9%) were likely to volunteer again was to give back to the community. Of the respondents who are not likely to volunteer again, not having enough time was the main reason for freshmen (N= 5, 83.3%), juniors (N= 4, 66.7%) and seniors (N= 7, 70%) not being likely to volunteer again. Sophomores are split among not yet finding an organization of personal interest they would like to support (N= 2, 66.7%), it being too difficult to get involved (N= 2, 66.7%) and not having enough time (N= 2, 66.7%). When analyzing the data, respondents were categorized as involved (being a member of two or more on-campus organizations) or not involved (being a member of two or less on-campus organizations). 161

EXTERNAL FACTORS AND DESIRE TO VOLUNTEER

Figure 17

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of the respondents categorized as involved, while 2 respondents categorized as not involved. The top three reasons for involved respondents to volunteer previously were: The organization was of personal interest (N= 118, 77.6%), for community service (N= 115, 75.7%) and to give back to the community (N= 110, 72.4%). The top reasons for not involved respondents to volunteer previously were split evenly four ways: The organization was of personal interest (N=5, 55.6%), respondents identified with/supported the organization’s mission (N=5, 55.6%), for community service (N=5, 55.6%) and for a class (N=5, 55.6%).

Research Question 2: What outreach methods would best motivate JMU students to volunteer?

After analyzing the data, the outreach methods that were ranked by the responses indicated that Facebook (M= 8.18, SD= 2.06 ), email (M= 7.92, SD= 1.83), Instagram (M= 6.01, SD= 2.56) and flyers in local establishment (M= 5.16, SD= 2.60) were the three most preferred means of outreach for learning about opportunities in the community among respondents. There was no significant difference of responses between gender or school year and preferred means of outreach. We reversed the code.

Research Question 3: How much do JMU students value the arts/arts education?

Most respondents indicated they value the arts “a great deal” (N= 66, 40.5%), followed by the second most response of valuing the arts “a lot” (N= 48, 29.4%).

The majority of respondents indicated the personal importance of community music education programs as “moderately important” (N= 49, 30.1%), followed by the second highest response of “very important” (N= 46, 28.2%).

BEST OUTREACH METHODS

Figure 18

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Based on the results of the study, value of the arts is significantly correlated with respondent’s view for a need of musical exposure/interaction/or education in the Shenandoah Valley, r = .652, p < 0.01. Value of the arts is also significantly correlated with the likeliness of respondents being willing to participate in increasing musical interaction in local communities in the U.S., r = .601, p < 0.01. Value of the arts is also correlated with the personal importance of community music education opportunities r=.455, p < 0.01.Respondent’s view on the need for musical exposure/interaction/or education in the Shenandoah Valley is significantly correlated with how likely respondents are to participate in increasing music interaction in local communities in the U.S., r= .537, p < 0.01.

Personal importance of community music education opportunities is correlated with respondent’s views on the need for musical exposure/interaction/or education in the Shenandoah Valley r=.491, p < 0.01. Personal importance of community music education opportunities is also correlated with how likely respondents are to participate in increasing music interaction in local communities in the U.S., r= .423, p < 0.01.

Research Question 4: Is there a correlation between valuing the arts and desire to volunteer?

We found that there was no correlation between valuing the arts and having a desire to volunteer. However, we found a correlation between how much students value the arts and their willingness to participate in increasing musical interaction in local communities in the U.S. This is because r=.601 which was p<.001.

After reviewing the data, we found that there was a correlation between attending musical events (such as jam sessions, music lessons, community concerts, and sponsored concert shows) and interest to volunteer. We found this to be true by running a bivariate correlation test and comparing our responses of how much the arts were valued, interest in attending music events, and general interest in music. The cronbach alpha for this test is r=.78, p<.001, which shows a moderate interest to volunteer between these variables. Because this value was higher than r=.75, it was deemed significant, therefore making it a useable value.

Research Question 5: Is there a correlation between musical background and willingness to volunteer?

Musical background was not necessarily related with volunteering, but it was related to how likely people would be to increase musical interaction in local communities. There was a correlation between somebody who was involved in arts programs in the JMU community and the likelihood of participating in increasing local music interaction. An independent samples t-test was conducted to compare the level of involvement in the arts programs at JMU and likelihood of participating. The people who have participated in a performing arts group were more likely to participate in increasing musical interaction in local communities (M=3.80, SD=1.35) than the people who have not participated (M=3.15, SD=1.12), t(161)=2.56, p<.05.

If a participant was willing to volunteer again, they were more likely to volunteer within the community, r=.69, p<.001 and be willing to participate in musical interaction within the local community r=.161, p<.05. Specifically, there was a significant difference between those who were in a band and those who were not in a band and their willingness to increase local music interaction. The significance level, p=.008, shows that there was a higher level of willingness for band members to volunteer in the community. There was a significant difference in the willingness of respondents who were in a band to volunteer (M=3.92, SD= 1.62) than those were not in a band (M=3.20, SD= 1.13). 23

Practical ImplicationsPersonal interest is the driving factor behind whether or not JMU students choose to volunteer in their community again (see Primary Research Report, pg. 21).• Of respondents who said they were likely to volunteer again 79.1% said they would volunteer due to

having a personal interest in the organization itself. • This could prove to be a target public rife with promise for RMC.The second most common reason for individuals to volunteer again is in order to give back to their community (see Primary Research Report, pg. 21).• 77.8% of respondents cited giving back to their community as the main reason they would volunteer

again.Year in school can be used as an indicator for why students choose to volunteer (see Primary Research Report, pg. 21).• School year feedback can be used to determine how to appeal to students of different years (see

Research Question 1).JMU students for the most part do care about the arts (see Primary Research Report, pg. 22-23).• Very viable public as there is a pre-existing culture of appreciation for the arts that RMC can capitalize

on.The data also revealed which means of communication outreach are preferred by students (see Primary Research Report, pg. 22).• This is very valuable information as RMC can use this to better target, reach out and appeal to JMU

students.

Limitations More surveys could have been distributed• We only distributed the surveys on one day. Had we distributed more, the results could have been more

diverse and insightful or further confirmed the points made in the results, but with a larger sampling size.

Excess questions on the paper surveys• The paper version of the survey was an outdated version and contained questions about the client that

were scrapped on the Qualtrics version. Having these questions in the paper survey made it longer, thus requiring more time of the respondent. It is possible the respondent could have started to lose interest near the end of the survey and answered less thoughtfully.

• It is also possible that respondents who were familiar with Rocktown Music Collective were swayed to answer a certain way with those questions, which is why the client requested they were removed.

The paper version contained a few poorly/inconsistently worded questions that were edited on the Qualtrics version, but did not transfer to the paper copy.• There was at least one survey question that was closed-ended on the paper survey as well as one

question measuring value on a national level as opposed to local. We did not intend to pose this question as closed, so there is the possibility that participants responded differently to this style than an open style question.

There may have been human error with inserting the paper survey data into the excel sheet

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SituationalAnalysis

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S W

o T

STRENGTHS• Founded by people who are members

of RMC’s target key public(s)• Unique niche• Young, new organization with a fresh

face

WEAKNESSES• Budget is limited• No consistent past outreach to publics• Lack of online/real-world presence.• No set communication flow/ defined

roles among board members

OPPORTUNITIES• RMC is in its infancy stages• No (negative or positive) public percep-

tions of RMC brand• Most JMU students value the arts, have

volunteered in their communities be-fore and are likely to volunteer in their communities again

• Harrisonburg & Harrisonburg schools have a huge range of diversity; large refugee presence/support system

• Harrisonburg hosts/welcomes several cultural events and festivals annually

• Harrisonburg is a “foodie” and “artsy” town that supports arts, local goods and culture

• Strong nonprofit scene in Harrisonburg with arts and after school programs for children (opportunity to collaborate)

• Despite Shenandoah County schools’ slashed budgets in 2015, there has been an over 20 percent increase in interest among students in joining the school band and choir since 2008.

THREATS• Strong existing nonprofit scene in the

Shenandoah Valley with arts and after school programs for children

• Proposed defunding of National Endowment for the Arts

• Overall funding cuts of music programs in public schools

Strengths, Weaknesses, Opportunities and Threats of RMC

Figure 19

SWOT CHART

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Strengths

RMC was founded by members of its target public(s)• Jon Stapleton and Dr. Stringham are influential spokespeople within the JMU music program, a portion

of a target public for the Rock On ‘n Reach Out campaign. Unique niche• Being a music organization focused on enabling cultural interaction through music is unlike the

other music education services/organizations in this geographic area (see Competitive Frame pg. 9). Young, new organization with a fresh face• There is no need for image repair as RMC is yet to develop any image in the community. This allows

the organization to create the personality they desire from scratch and not have to conduct damage control.

Weaknesses

Limited budget limits scope of outreach• As for many nonprofits, funds are extremely limited for RMC and that results in a limited scope of

outreach they can make. RMC will have to rely on local, smaller scale communication methods to begin their outreach efforts.

No consistent past outreach to publics• Generally, RMC’s key publics are not familiar with the brand due to inconsistent outreach and

infrequent posts on social media, presenting a need for increased outreach to establish relationships.Lack of online/real-world presence may make it difficult for those who want to to get involved• Rocktown Music Collective only has activated Facebook (page has approx. 200 “likes”) and Twitter

accounts. The organization has a disabled website link that is still posted on their Facebook page and does not possess any print materials or other content (see Intenal Environment pg. 6). Potential volunteers or musicians may find it difficult to get involved with RMC due to lack of information.

No set communication flow/ defined roles among board members• Without defined roles of board members, functions may become blurred and hinder the efficiency of

RMC outreach and operations.

Opportunities

RMC is in its infancy stages• There is no (negative or positive) public perceptions of RMC brand.Per primary research findings, most JMU students value the arts, have volunteered in their communities before and are likely to volunteer in their communities again• Of the 163 JMU student surveyed, 98.8% volunteered before and 96.9% are likely to volunteer again.

Most respondents indicated they value the arts “a great deal” (N= 66, M= 4.02, SD= .98 ), followed by the second most response of valuing the arts “a lot” (N= 48, M= 4.02, SD= .98). For more details, see Results pg. 20).

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Harrisonburg & Harrisonburg schools have a huge range of diversity; large refugee presence/support system• The acceptance and welcoming of different cultures makes Harrisonburg an ideal area to establish a

music organization focused on community and cultural interaction. (see Local and National Leaders pg. 8).

Harrisonburg hosts/welcomes several cultural events and festivals annually • The Harrisonburg International Festival is a well established annual event held in downtown

Harrisonburg. It unites Harrisonburg’s diverse cultures for a day of food, music, dance and activities, a promising event for RMC to participate in.

Harrisonburg is a “foodie” and “artsy” town that supports arts, local goods and culture• The fostering of local organizations is promising for a brand new nonprofit. Using local leaders such

as Harrisonburg Downtown Renaissance as resources, RMC can maximize their reach among local organizations (see Local and National Leaders pg. 8).

Strong nonprofit scene in Harrisonburg with arts and after school programs for children • This is an opportunity to collaborate with organizations that are more established, credible and/or have

more resources (including volunteers).Despite Shenandoah County schools’ slashed budgets in 2015, there has been an over 20 percent increase in interest among students in joining the school band and choir since 2008 (Keelor).• With recent budget cuts to music/arts programs in Shenandoah County, there is more of a need than

ever for nonprofits to provide music programs at low to no cost for participants (see Relevant Financial Changes pg. 12). This may also present an opportunity for RMC to partner with public schools for in-school music programs.

Threats

Strong existing nonprofit scene in the Shenandoah Valley with arts and after school programs for children• The Valley Educational Center for Creative Arts and Shenandoah Valley Art Center are two close

competitors of RMC. With similar offerings, RMC’s niche will be important in setting itself apart from these existing arts programs (see Competitive Frame pg. 9).

Proposed defunding of NEA• Even large, reputable organizations are facing the challenge of proposed budget cuts, making the need

for volunteers stronger and more in demand than ever before (see Relevant Political Changes pg. 11).Overall funding cuts of music programs in public schools • With more music programs being decreased in size or cut completely, there is an increasing need for

alternative music program offerings outside of school (see Relevant Financial Changes pg. 12).

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Problem and Opportunity Statements• There remains an overall lack of awareness of RMC among target publics, making primary outreach

efforts and relationship establishment a priority in order to move forward with recruiting volunteers, donors and participants.

• Considering RMC’s small size/scope of outreach, their mission to extend their events across the entire Shenandoah Valley is ambitious at this time.

• JMU students value the arts, have volunteered in their communities before and are likely to volunteer again.

• The opportunity Harrisonburg presents as being a culturally diverse, accepting and welcoming city is not being capitalized on. There are ample opportunities for partnerships and involvement in cultural events and festivals that will increase exposure of RMC and establish a presence in the Harrisonburg cultural community.

Key PublicsJMU Underclassmen (Freshmen and Sophomores)

After conducting a campus-wide survey, we were able to determine that JMU underclassmen (freshmen and sophomores) was the age group that was most likely to volunteer in its community (hometown or Harrisonburg) (Primary Research Report pg. 21-22, RQ 1). We also discovered that a majority of JMU students value the arts/music education “a great deal” (Primary Research Report, pg. 22-23, RQ 3). For these reasons, this is an important public for RMC to target. JMU underclassmen are crucial because of their enthusiasm to get involved both on- and off-campus; they will be more open and receptive to new opportunities being introduced to them. Additionally, as the newest students on campus, they will be the most impressionable about new experiences and they will physically be in the city of Harrisonburg for the longest amount of time (typically 3-4 more years). Certain on-campus organizations can act as opinion leaders for this public such as the various service organizations and Greek life found on campus. Demographics for this public can be generalized from those of the larger population of JMU students.

Demographics All of JMU students (as of Fall 2016) (James Madison Universtiy, 2017): 19,262 undergraduate students enrolled 75% from Virginia; 25% out-of-state 40% male; 60% female 75% White; 6.1% Hispanic; 5.7% Asian; 4.6% Black JMU underclassmen: 18-20 years-old Approximately 10,000 students Mostly white Middle- to upper-middle class Communication Channels Facebook, email, Instagram, flyers in local establishments (in this order) (Primary Research Report pg. 22, RQ 2)

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JMU Students Involved in Music

As JMU is a large and fairly diverse and inclusive university, it has become a hub for students from all different backgrounds with all different backgrounds to convene. Many JMU students are involved in music in some way, whether in be on campus with a JMU club/organization or off campus on their own time. Some of these on-campus organizations include the Marching Royal Dukes, the JMU Pep Band and various acapella groups. This public will be crucial for RMC to access because these particular students already have a passion for and love of music, the root of the RMC mission. These students are most likely to have been exposed to music/music education in their upbringing as well as the most likely to value such exposure and therefore are the most likely to want to encourage that kind of musical development in other young pupils (Primary Research Report, pg. 23, RQ 5). Their interests in music and musical performances/experiences make them the perfect candidates to become involved with RMC; our research shows that there is a significant correlation between valuing the arts and willingness to participate in increasing musical interaction in local communities in the US (Primary Research Report, pg. 23, RQ 4). Opinion leaders for this public come from all areas of study: students involved in music in some way will have a lot of influence on others that participate in the local music scene. Demographics for this public can be generalized from those of the larger population of JMU students.

Demographics All of JMU students (as of Fall 2016): 19,262 undergraduate students enrolled 75% from Virginia; 25% out-of-state 40% male; 60% female 75% White; 6.1% Hispanic; 5.7% Asian; 4.6% Black JMU students involved in music: 18-22 years-old Mostly white Middle- to upper middle-class Communication Channels Facebook, email, Instagram, flyers in local establishments (in this order) (Primary Research Report pg. 22, RQ 2)

JMU Students in the College of Visual and Performing Arts (CVPA)

• School of Art, Design and Art History• School of Music• School of Theatre and Dance

The JMU College of Visual and Performing Arts (CVPA) is home to an entire population of creative, music-oriented and artistically-inclined individuals. These students are those who were not only exposed to music education throughout their upbringings, but students that have continued to pursue their musical education prowess. The interests of this public make them prime candidates for RMC volunteers. CPVA students are some of the most likely to value music education, according to our research (Primary Research Report, pg. 23, RQ 5), and, as a result, will be more inclined to want to help RMC offer that

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experience to others. We also found that there is a significant correlation between valuing music and seeing a need for music education/exposure/interaction in the Shenandoah Valley region (Primary Research Report, pg. 22-23, RQ 3, 4). RMC will very easily to be able to connect with these students on the intimate level that is through music. RMC also offers opportunities that can be helpful for these students in their pursuit of arts focused degrees. There are also many opportunities for partnerships and mutually beneficial relationships to begin between RMC and the CVPA. JMU also boasts many regionally prominent music programs such as the School of Music and the Marching Royal Dukes. This musical credibility that the university holds is a perfect opportunity for RMC to team up with JMU. A key finding from our secondary research states that “[it] seems to me that university music schools might be wise to expand their institutional concepts of ‘music education’ by embracing community music paradigms, values, and processes, and by accepting students as prospective ‘community music workers’,” (Elliott, 2003, p. 33). Opinion leaders for this public include the many on-campus music organizations/clubs/fraternities; most students in certain schools in the CVPA are involved in one of the aforementioned. Demographics for this public can be generalized from those of the larger population of JMU students.

Demographics All of JMU students (as of Fall 2016): 19,262 undergraduate students enrolled 75% from Virginia; 25% out-of-state 40% male; 60% female 75% White; 6.1% Hispanic; 5.7% Asian; 4.6% Black JMU CVPA students: 18-22 years-old Mostly white Middle- to upper middle-class Communication Channels Facebook, email, Instagram, flyers in local establishments (in this order) (Primary Research Report pg. 22, RQ 2)

Similar Cases“Making Sweet Music with MacPhail”This campaign was conducted by the MacPhail Center for Music in 2004 and received the PRSA Silver Anvil Award in 2008.

The MacPhail Center for Music, a century old community music school in Minneapolis, needed to “breathe new life into the organization.” Through an extensive campaign, the Center targeted locals with the intent of reenergizing the community music organization. The MacPhail Center strived to reignite interest in its mission and encourage a new wave of donations to the center through media impressions and flashy events. The issue facing the MacPhail Center was a loss of interest in the Center as a community music organization. But the Center hoped to recapture the interest of its publics with a well-executed campaign.Before the campaign could begin, research was conducted that reviewed internal organization plans and documents as well as industry reports. From the research, the MacPhail Center was able to uncover critical information about the mindsets and attitudes of the area’s residents. Researchers conducted one-on-

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one meetings and interviews to be thorough. They also examined the results of past openings and events in the region to better execute their own plan. Through this research, the MacPhail Center learned that gaining awareness and support from key stakeholders was the critical first step to success for the organization. Certain goal and objectives were set at the beginning of the campaign that the MacPhail Center needed to achieve in order to be successful. The first goal was to renew interest in community music education and encourage participation with the MacPhail Center for Music. A lack of interest leads only to a lack of participation, and that is the opposite of what the MacPhail Center wanted for its publics. In order to achieve this goal, it was important for publics to gain a broad awareness for the MacPhail Center and its mission. The Center also needed to be sure to build support among stakeholders that were already involved and encourage even more of their participation. The MacPhail Center implemented several notable strategies and tactics in its pursuit of its goals. The Center first used the grand opening of new building to communicate the organization’s success. The Center created a giant event centered around the unveiling of the new location which garnered a lot of

public and media attention. The Center also had to be proactive in initiating media relations activities in order to gain press exposure. In doing so, the Center developed the appropriate media documents and distributed them to the appropriate media publics. The MacPhail Center conducted a series of VIP events for donors to make some of its more important stakeholders feel that way. The Center also created a week long of family-friendly activities surrounding the opening of the new building. This tactic was able to get people involved in the event before it even happened. The MacPhail Center made it a point to approach its key political allies for the purpose of creating partnerships, sponsorships and hopefully generate donations. Before any of the events occurred, the Center developed and

distributed “save the date” cards to be sure that the campaign and all that it entailed was on the public’s radar. All in all, the MacPhail Center campaign saw great success. After all was said and done, the Center had gained over 12 million media impressions and nearly $350,000 in advertising equivalency, a 17:1

MACPHAIL CENTER

Figure 20

MACPHAIL CENTER EVENT

Figure 21

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return on investment. 10,000 residents visited the new center after the opening celebration and the Center generated relationships with media personnel that resulted in continual media coverage. Additionally, more than 300 people attended the grand opening ceremony; it was a real “who’s who” of local, state and national politicians. Almost 100% of donors who contributed to the campaign attended at least one event and the Center witness its highest enrollment in history. Finally, the MacPhail Center raised $25 million even before its internal deadline. The MacPhail Center for Music’s use of showy strategies and specifically targeted tactics shows that getting a public to acknowledge and care about an organization is the first step to success. RMC can learn a few lessons from this campaign. First, awareness of an organization is key; nothing else can occur if an organization’s key public does not acknowledge its existence. Additionally, it is crucial to be proactive in a campaign: the MacPhail Center actively went out seeking relationships with relevant politicians and media personnel. RMC can certainly take a page out of the MacPhail Center’s book while executing its own campaign.

“Because Every Kid Deserves One (B.E.D)”This campaign was conducted by Serve and Pathfinders in 2008 and received the PRSA Silver Anvil Award in 2009.

In 2008, 25% of Milwaukee’s residents were suffering from poverty and over 400 children didn’t have a bed to sleep in on any given night. Despite public and private funding for shelters in the surrounding area, children and teenagers are continually left in the cold. This problem is what sparked the 2008 Because Every Kid Deserves One (B.E.D.) Campaign run by Serve Marketing and Pathfinders. Initially, research was conducted on charitable giving habits as well as on the youth homelessness issue. Researchers found that charitable giving to shelters in the area had plateaued around 2004 and that, in the Greater Milwaukee Area, individual donations had decreased by 15%. These are issues that the campaign would have to address if fundraising was a goal. Results about the youth homelessness issue in the area illustrated the great need for organizations providing shelter for children and teenagers. According to secondary research, on any given night, approximately 455 youths in the area are in need of a place to sleep, while only 16 emergency beds are available. Thus raises the issue that B.E.D. aims to solve. The overarching goals of the B.E.D. campaign were fairly straightforward, but their execution was anything but. The first goal was simply to raise awareness of the issue of youth homelessness in the area. The second was to create a fundraising event that would bring in at least $10,000 - half of this will be secured for an advertising campaign in the future. Finally, the campaign aimed to create an outdoor, grass-roots PSA campaign after all of the initial campaign efforts had been done that would even further encourage donations to shelters in the Milwaukee area. By achieving it’s goals, the organization hoped to increase funding by 5% and recruit 100 new donors. The B.E.D. campaign used a slew of unusual strategies and tactics to generate a lasting affect on its publics. The campaign strived to “connect people to the youth homelessness issue in an unexpected way” by bringing the issue to life right in front of the eyes of the public. The ultimate goal was to emotionally engage people with this underrated issue and use this to inspire them to participating in ameliorating the youth homelessness epidemic in their area. The campaign and all of the elements that it encompassed would also help write a later ad

B.E.D. EVENT

Figure 22

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campaign for the organization that would increase even more donors and participants to Milwaukee shelters. The products of the campaign were original tactics that were jarring in just the right way. The B.E.D. campaign hosted an interesting variation of a typical fundraising event - the event was all about minimization; it was no black-tie affair, guests purchased beds instead of tables. These tactics were meant to catch the eye of the public in an unorthodox way. Another effort of the campaign included a planned protest. In a shocking display, the campaign had children and teens protesting the issue of youth homelessness in the area - a scene surely to make viewers sad, guilty and uncomfortable. The aim here was to make them uncomfortable enough to take action with the organization. Several

other strange tactics were implemented that made this campaign stand out to its publics as something out of the ordinary. This was beneficial because the campaign hit publics differently than a simple campaign - it played off of the emotions of sadness and discomfort as opposed to the pleasantries and comfort the campaigns usually offer. Overall, the B.E.D. campaign saw major success in the Milwaukee area, where homeless children and teens were the real winners. The campaign not only achieved but surpassed all of its original goals.The campaign gained over 2 million impressions in local broadcast, web and print media. This exposure was helpful for the later ad campaign that was run, garnering an additional 1.7 million local media impressions. The B.E.D. event saw over 300 attendees and more than $50,000 in donations/sponsorships. A certain portion of this money was set aside for the ad campaign that was later run. The PSA campaign that ensued at the end of the B.E.D. campaign proved successfully by capitalizing on resources already acquired through the beginning phases of the plan. Purchased advertisements reached an estimated 21 million people; additional news media brought in about $117,000 worth of media value to the campaign; and finally, all of the aforementioned efforts won the organization over $146,000 in donations, a more than 21% increase from the previous year. This organization’s ability to think outside the box paid off in it’s successful campaign combatting the issue of youth homelessness in the Greater Milwaukee Area. Several of the ideas executed by the B.E.D. campaign could prove helpful in RMCs campaign. The above campaign’s use of discomfort is inspiring but specific. The B.E.D. campaign used several tactics that made publics feel so guilty and uncomfortable that they could not help but participate. This tactic will likely only work for something so well suited for an uncomfortable situation, but it is inspiring to see how this campaign thought so far outside of the box.

B.E.D. FUNDRAISING EVENT

Figure 23

34

Campaign proposal

35

Goals and ObjectivesGoal 1: Increase awareness of the existence of RMC and the services it offers (reputation management) Objective 1: Increase the level of awareness about RMC by 20% among JMU underclassmen (freshmen and sophomores) by December 2017 Objective 2: Increase the level of awareness about RMC by 20% among JMU students involved in music by December 2017 Objective 3: Increase the level of awareness of RMC by 20% among JMU students in CVPA about RMC by December 2017 Objective 4: Strengthen RMC’s brand identity/recognition on the JMU campus by 30% by May 2018 Objective 5: Increase level of comprehension of 100 JMU underclassmen about RMC and the services/opportunities/benefits that it provides Objective 6: Educate 25 JMU students involved in music about RMC and the services/opportunities that it provides through an in person presentation Objective 7: Educate 40 JMU students in the CVPA about RMC and the services/opportunities that it provides through an in person presentation

Goal 2: Establish positive relationships between RMC and its publics (relationship management) Objective 1: Generate 10 partnerships with appropriate JMU organizations by May 2018 Although JMU Organizations is not a key public for this campaign, it is important to include because it is more than likely that individuals from each of the campaign’s key publics will be encompassed within JMU Organizations. Objective 2: Generate 5 relationships with JMU/student music organizations by May 2018 Objective 3: Generate 50 digital interactions with JMU music students/organizations on Facebook by December 2017 Objective 4: Verbally interact with 40 JMU underclassmen by May 2018 Objective 5: Verbally interact with 15 JMU students involved in music by May 2018

Goal 3: Encourage donations to/volunteerism for RMC (task management) Objective 1: Recruit 80% of JMU student volunteers to sign up to volunteer again within 1 year of their original volunteering date Objective 2: Have 45 JMU underclassmen sign up to volunteer for RMC by May 2018 Objective 3: Have 20 JMU students involved in music sign up to volunteer for RMC by May 2018 Objective 4: Have 20 JMU students in the CVPA sign up to volunteer for RMC by May 2018 Objective 5: Raise $1,500 for RMC from JMU students/from on-campus efforts by May 2018

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Slogan

ROCKTOWN MUSIC COLLECTIVE CAMPAIGN LOGO

Since our target audiences are young (ages 18-24), we wanted to create a slogan that was catchy to the millennial age group yet still incorporated elements of RMC and of course, volunteerism. We played around with music/volunteerism puns and wanted to incorporated “rock” or “Rocktown” to localize the slogan.

Reach Out ‘n Rock Out was created to encourage volunteerism and music, while also incorporating “rock” which is both a music reference and part of “Rocktown.” Selecting a word with multiple meanings allowed us to get creative with our slogan. The resulting slogan is concise, catchy and visually balanced as there are two “R O” words on either side of the ‘n.

The logo design came to fruition after wanting to create a logo that young adults would want to have on their laptop or water bottle as a sticker. We used some of the same colors as the RMC logo to remain consistency and have both logos compliment one another.

Figure 24

37

Primary MessagesPrimary Message 1: RMC is a local organization emphasizing musical community interaction that offers culturally diverse music experiences; RMC offers interactive, interpersonal community music experiences in the Shenandoah Valley• Brand recognition of RMC needs to be augmented on JMU’s campus and around the area in order to

encourage volunteers to donate their time to the organization• Organizations such as RMC are important in a community because they promote unity through musical

means “Community music may provide channels for development and an opportunity for music teachers to redefine how music should be taught and the benefits music education presents (Dabback, 2010),” (Primary Research Report, pg. 6).• There are many benefits to music education “Students who had intensive arts experiences in high school were three times more likely than students who lacked those experiences to earn a bachelor’s degree. They also were more likely to earn ‘mostly A’s’ in college (Catterall et al., p. 16),” (Primary Research Report, pg. 9).• Appeals Emotional appeal

Guilt appeal

Primary Message 2: RMC relies heavily on volunteers and donors in order to be able to continue offering interactive musical experiences to the community.• RMC needs volunteers to operate• As a nonprofit, RMC needs donations to operate• Volunteering at RMC offers many benefits “[The] organization offers community members value in the form of music learning opportunities, spaces to share their musical knowledge with the community through performance and teaching, and a community to enhance and expand their musical and nonmusical skills and perspectives. This value may develop into instructional and performance skills that they may utilize independently or within the Collective in the future. The Collective benefits from this exchange by drawing on the community’s vast musical and nonmusical cultural wealth and knowledge, enhancing existing programs and generating new programming over time,” (Stapleton, 2016, pg. 5).

• Community is so important; a community is a family, a support system• Music is an important part of becoming a well-rounded individual; there are

many benefits offered by organizations such as RMC• RMC can help students be their most successful selves from their childhood/

adolescence on

• What if music education programs like RMC become extinct? What will become of the community? Of our children’s’ education?

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• Appeals Virtue appeal

Guilt appeal

Strategies and TacticsAs a nonprofit with a limited campaign budget, interpersonal communication tactics work best for RMC.

Strategy 1To boost awareness about RMC of its publics through marketing collateral and interpersonal communication. (G1, O1, O2, O3, O4, O5, O6, O7; G3, O1).

Interpersonal Communication Tactics• RMC table on the quad: JMU students love to spend time outside on the quad when the weather

is warm enough. Tables/Booths will be set up outside offering free things, lively conversation and information are a great way to not only gain exposure on the campus but increase interactivity between RMC and the student population. RMC will set up a small information table on the paths of the quad offering information about the organization with students. If students sign up for an email list, they can receive a free RMC sticker. RMC will be able to reach all different kinds of students from all different disciplines.

Materials: table, RMC banner, 2 representatives from RMC wearing RMC shirts, paper, pens, RMC stickers, email list signup form, clipboard • RMC table at JMU events: Throughout the year, JMU hosts various musical events on campus.

This would be a good place for RMC to put its name in front of many students with many different interests. RMC will set up a table in the front area of concerts that occur throughout the year. Everyone attending the event will walk past the RMC table and have the opportunity to learn about the collective, ask questions, sign up for the email list or as a volunteer or even donate to RMC. Students who sign up to volunteer/to be included on the email list/donate will be rewarded with a small, free piece of RMC collateral.

Materials: table, RMC banner, 2 people working at table wearing RMC shirts, blank email list attached to clipboard, pen(s), RMC collateral to distribute (something small/cheap like stickers or pens)• RMC table at JMU FROG Week’s “Block Party in the ‘Burg”: In the beginning of the school year, JMU

celebrates all of the local organizations that make up downtown Harrisonburg. In doing so, all JMU freshmen are invited (and most attend) to a block party in the town center. Local businesses from the entire town are present so that JMU freshmen can start to get to know them. JMU, students, and all college students, love to receive free things; the block party is the perfect opportunity to distribute RMC collateral to many students and also have all of these students seeing the name and logo of

• Volunteering/Donating gives you such a great sense of fulfillment and worth JMU emphasizes the importance being a contributing member of society/your community

• Pay it forward; receive good karma in return

• RMC needs you in order to keep operating; the organization cannot do it without your help

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the organization. RMC will set up a table/tent amongst all of the other local businesses with enticing opportunities. A large banner will be hung as well as t-shirts and other free collateral. Students will have the opportunity to sign up for an email list and to be a volunteer or even donate. There will be several instruments also at the table so that students can approach the table and start a “jam session” if they want. This interactive element will draw more students in. Students who sign up for the email list/to volunteer/donate will be rewarded with a free piece of RMC collateral. The booth will offer information about the services it provides and any upcoming events. Other RMC collateral will also be for sale with all proceeds benefiting the Collective.

Materials: table(s), tent?, at least 3 representatives from RMC wearing RMC shirts, RMC collateral - stickers, pens, cups, t-shirts, etc., email sign-up sheet, clipboard, pens, speakers, music, instruments?, RMC flyers/brochures• Visit JMU classes/organization meetings: Many JMU students are not even aware of RMC’s existence,

much less of its role in the community. Spokespeople from RMC will visit JMU classes (music and general education classes will be best targets) and talk to students briefly about RMC, what the organization does, why it needs JMU students and how they can get involved. Students will have the opportunity to ask questions and sign up for an email list to receive RMC updates. RMC representatives will hand out flyers/brochures to all members of the class/organization.RMC spokespeople will also visit various JMU organizations during some of their first meetings of the year. Many organizations on campus have community services requirements in order to remain in good standing with the organization. RMC is the perfect local nonprofit organization to tap into this requirement. Organizations will learn about RMC, how it benefits in the community and how they can become involved.

Materials: clipboard with blank email list, pens, 1-2 spokesperson/people, powerpoint/slideshow (if necessary, dependent on who is being presented to), RMC flyers/brochures

Organizational Media Tactics• RMC flyers on campus: RMC will create colorful, attention-

grabbing flyers and decorate the JMU campus with them. Buildings like the Music building and Forbes will be prime spots to hang flyers as these house the music and theatre and dance majors. Flyers will also be placed in other buildings across campus. This flyers will also be used as informative pieces of visual marketing handed out at informational events, on-campus music events, RMC tables set up on campus, etc. This will be one of the first steps RMC takes in launching its campaign.

Materials: ~150 flyers (it’s possible more will need to be printed), tape, 2-5 distributers, means/budget necessary to print flyers

RMC SAMPLE FLYER

Figure 25

40

News Media Tactics• RMC mention during WXJM radio broadcast: WXJM is the leading student radio channel in the area.

The station is completely run by students who are often involved on-campus as well as off-. All radio segments are led by students who prepare the playlists and verbally host the shows. During a WXJM broadcast each month, a radio host will promote RMC either as an organization looking for volunteers or promoting an upcoming RMC event either on- or off-campus.

Materials: an RMC representative to be present during the radio hour that is being sponsored and something for that person to say about RMC on the air, an RMC poster to hang in the radio studio

Advertising and Promotional Media Tactics• RMC story/stories in The Breeze: In the beginning of year, RMC will create and publish a story in The

Breeze JMU student newspaper. The first story will be informative, introducing RMC as a local nonprofit organization to the students. The article will discuss what RMC is, how it was conceived, what events/services it offers and the benefits that it provides to the community. It will also include information for how readers can connect with RMC and how they can become involved.A second article will be run after an RMC event has occurred. The article will feature highlights of the event as well as photos taken there. The article will also include a brief overview of other RMC events in the future and ways to get involved.

Materials: representative from RMC, reporter from The Breeze, art available for The Breeze to publish alongside feature ***Tactics will be tailored specifically to each public, if possible.

Strategy 2To establish positive relationships with JMU student organizations through interpersonal interactions with members of student arts/music/cultural organizations (G1, O5, O6, O7; G2, O1, O2, O4 ,O5; G3, O2, O3, O4).

Interpersonal Communication Tactics• Introduce RMC to on-campus organizations: In September, when students have just arrived at JMU

and organizations are having their first meetings of the year, RMC will present at these meetings about how they could to start mutually beneficial relationships with the organization. RMC spokespeople will introduce the Collective to the JMU organization and discuss how a relationship between the two can be mutually beneficial.

Materials: PowerPoint presentation/slideshow/video clip(s), 2-3 representatives from RMC wearing RMC shirts, RMC flyers/brochures

41

Figure 26

RMC SAMPLE PRESENTATION

42

• Offer RMC venue: In the beginning of the year when clubs are having their first meetings, RMC will offer the RMC venue as a resource for appropriate on-campus organizations (music/dance groups/ fraternities). This will help to create mutually beneficial relationships between RMC and appropriate on-campus organizations.

Materials: an RMC venue large enough to offer to JMU organizations for use, an organized way of scheduling the use of the venue• Begin a partnership: After having spoken with appropriate on-campus organizations about RMC, the

Collective and one of the organizations will begin a partnership. Thanks to the mutually beneficial relationship, RMC will sponsor or co-host the JMU organization’s events. All media advertising the event would include RMC’s name and logo and of course there would be an RMC sign hanging at the event. During the event, whoever is hosting will be sure to mention RMC as a generous donor and will touch briefly on what RMC is and what services offers. It would be ideal to have an RMC spokesperson present so that students interested may ask questions and even sign up to volunteer.

Materials: 1-2 RMC spokesperson/people, email list, a good relationship with an appropriate JMU organization, a plan for an event(s) to host with the partner, an on-campus venue to host events***Tactics will be tailored specifically to each public, if possible.

Strategy 3To increase awareness and encourage participation among JMU students, RMC will interpersonally connect with public on the JMU campus by bolstering their on campus presence with events (G1, O1, O2, O3, O4; G2, O4, O5; G3, O1, O2, O3, O4, O5).

Interpersonal Communication Tactics• Hold informational event(s) on campus: One evening, in the

beginning of the semester, RMC will reserve a room in an on-campus location and set-up for an informational event. There will be the chance to win free RMC collateral (perhaps a raffle?) at the event in order to incentivize students to attend. If RMC could develop a relationship with the JMU School of Music, attending the event could be worth extra credit which would create even more incentive for students to attend. The event will be a casual chat, meet & greet and Q & A with Jon Stapleton and other board members/spokespeople from RMC. The object of the event will be to educate students about the existence of RMC as well as the opportunities for them to get involved.

Materials: a room on JMU campus, Jon Stapleton and 2-4 other RMC board members, RMC collateral to giveaway/win, an email list, RMC banner, a presentation/slideshow, prepare something to say, RMC brochures/flyers/other literature to hand out• Hold fundraising event(s) on campus: One/multiple

evening(s), in December/at the end of the spring semester, RMC will reserve a room in an on-campus building and set up a fundraising event. The event will have to be fun and engaging in order to get

EXAMPLE OF RMC COLLATERAL: CUP

Figure 27

EXAMPLE OF RMC COLLATERAL: PEN

Figure 28

43

students to attend on their own time - RMC will set up a band night. Multiple partnerships could be beneficial for this event: music students could earn extra credit for attending/donating; service organization/greek organization members could earn “points” for attending/donating. Students will pay $5 (or more?) to enter, hear live music, and enjoy a buffet. All proceeds will benefit RMC. There will also be opportunities to sign up to volunteer, donate to RMC or purchase RMC collateral.

Materials: a room on JMU campus, 4-5 RMC volunteers/board members to work the event, RMC banner, email list, several bands to participate for free, somewhere to cater for free/very lowcost, physical tickets to sell, RMC brochures/flyers, RMC collateral to give away/ sell• Sponsor Open Mic Night: On multiple evenings

throughout the school year, JMU offers Open Mic Night at TDU. RMC can sponsor this event in order to gain publicity. At the event, an RMC table will be set up with one or two spokespeople to educate students. At the table, students can learn about RMC, sign up to volunteer or to be on the email list, donate to RMC or buy any RMC collateral. Flyers/brochures will be distributed. The hosts of the Open Mic Night will mention RMC as a generous sponsor and will talk briefly about the Collective and the opportunities that it offers.

Materials: RMC banner, 2-3 RMC board mem bers/volunteers to talk about RMC at the event, RMC brochures/flyers, RMC collateral for sale, email list• T-shirt design contest: RMC will host a t-shirt

design contest that is open to the public. The contest will be advertised all over RMC’s social media accounts, so the Collective will have to wait until it has increased its digital following. Anyone can submit a t-shirt design using RMC’s colors/logo. Once all submissions have been received, RMCs board members will vote on all the designs and narrow it down to their 5 favorites. The public will then vote on their favorite of the 5 designs on RMCs Facebook page. All top 5 finalists will receive a free RMC t-shirt once the contest has been concluded. The winner of the t-shirt contest will win not only a t-shirt, but a free (music lesson?) courtesy of RMC. The winning t-shirt will be sold at RMCs venue and all events hosted/sponsored by the Collective.

Materials: Facebook followers, a budget in order to print a certain number of t-shirts after the concert

EXAMPLE OF RMC COLLATERAL: STICKER

Figure 29

EXAMPLE OF RMC COLLATERAL: T-SHIRT

Figure 30

44

***Tactics will be tailored specifically to each public, if possible.

Strategy 4To increase interactivity on social media (Facebook and Instagram) between RMC and its publics (G1, O1, O2, O3, O6, O7; G2, O1, O2, O3; G3, O1, O2, O3, O4).

Interpersonal Communication Tactics• Post interactive and informative digital content: RMCs digital following is very small. If RMC would put

more effort into its interactions on social media, the number of followers and likes that it has would surely increase. In order to engage more people on social media, RMC will have to post not only more frequently, but higher quality content. The best content will be photos and videos that followers can quickly enjoy as well as engaging posts such as contests and polls. RMC also needs to engage with these followers by commenting/messaging them back, liking/sharing their posts about RMC, etc. It is also important for RMC to get its website up and running. Many of the Collective’s pre-existing social media accounts do send users to the website, but they are always greeted with a error message that the website cannot be found. If RMCs followers could actually use the links to do what they are supposed to do, they would likely be more interactive and come back and visit the page again and again.

Materials: photos/videos to post, Facebook/other social media followers, an RMC volunteer/board member to be attentive to the social media pages• Livestream RMC events: The newest technology trend is to livestream events on various social media

platforms (Facebook and Instagram both support this feature). RMC will livestream its musical events (jam sessions, music lessons, talent shows) for its followers. Viewers will be able to get a feel for some of the services that RMC offers as well as interact by commenting on/liking the stream. This will hopefully entice people to go out and experience the next RMC event in-person.

Materials: a cell phone with video capabilities, a reliable RMC volunteer/board member to film the event and post on the social media page(s)• Tutorial Tuesday: RMC will stay on trend

by livestreaming music tutorials every other Tuesday and create the Tutorial Tuesday (hashtag optional). Different instruments and different songs/excerpts from songs will be featured and taught step by step to viewers. RMCs followers will be able to interact by liking/commenting on the posts. They will also be able to request tutorials of certain instruments/songs. These streams cannot be so long

RMC SAMPLE FACEBOOK POST

Figure 31

45

that audience members lose interest, so it will be best to teach only excerpts of songs (the hardest parts, choruses, chords). This will not only engage social media followers, but it will also educate them about the services the RMC provides and the credible people behind the organization.

Materials: one/several RMC volunteers/board members who will be the teachers in the tutorials, a phone with video capabilities, a tripod to hold the camera, an appropriate venue in which to film, a larger social media following/presence• Hold online contests: RMC will hold online contests every other month on its social media pages where

winners will win RMC collateral. The contests can be anything small such as sharing a photo/video from the RMC Facebook page or as large as having participants send in videos of themselves playing their favorite songs/instruments. Followers can interact by liking/reacting to/commenting on/sharing these posts on their personal accounts. RMC will feature board members, other musicians and local celebrities as tutorial hosts. Hosts will be wearing RMC t-shirts.

Materials: a larger social media following, exciting/important opportunities to offer as prizes, an RMC volunteer/board member who can be attentive to the contest and the entrants***Tactics will be tailored specifically to each public, if possible.

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Strategy and Tactic Calendar

STRATEGY/TACTIC STAFF AUG 17

8/6 8/13 8/20 8/27

Strategy 1: To boost awareness about RMC of JMU underclassmen through marketing collateral, interpersonal communication and events

RMC booth/table on the quad/commons TBD

Hang flyers on bulletin boards/around campus TBD

RMC booth at JMU events TBD

RMC booth at JMU “Block Party in the ‘Burg” TBD

Visit classes, attend organization meetings TBD

Story/Stories in The Breeze TBD

WXJM block TBD

Strategy 2: To establish positive relationships with JMU student organizations through interpersonal interactions with members of student arts/music organizations

Present RMC to appropriate on-campus orgs. TBD

Offer RMC as a venue for on-campus orgs. TBD

Begin a partnership with an on-campus org. TBD

Strategy 3: To increase awareness and encourage participation among JMU students, RMC will interpersonally connect with public on the JMU campus by bolstering their on campus presence with events

Hold informational events on campus TBD

Hold fundraising events on campus TBD

Sponsor an “Open Mic Night” TBD

T-shirt design contest TBD

Strategy 4: To increase interactivity on Facebook and Instagram between RMC and its publics

Post frequent content TBD

Livestream RMC events TBD

Tutorial Tuesday TBD

SEPT 17

9/4 9/11 9/18 9/25

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OCT 17

10/2 10/9 10/16 10/23 10/30

STRATEGY/TACTIC

Strategy 1

Tactic 1

Tactic 2

Tactic 3

Tactic 4

Tactic 5

Tactic 6

Tactic 7

Strategy 2

Tactic 1

Tactic 2

Tactic 3

Strategy 3

Tactic 1

Tactic 2

Tactic 3

Tactic 4

Strategy 4

Tactic 1

Tactic 2

Tactic 3

Tactic 4

NOV 17

11/6 11/13 11/20 11/27

DEC 17

12/4 12/11 12/18 12/25

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JAN 18

1/1 1/8 1/22 1/29

STRATEGY/TACTIC

Strategy 1

Tactic 1

Tactic 2

Tactic 3

Tactic 4

Tactic 5

Tactic 6

Tactic 7

Strategy 2

Tactic 1

Tactic 2

Tactic 3

Strategy 3

Tactic 1

Tactic 2

Tactic 3

Tactic 4

Strategy 4

Tactic 1

Tactic 2

Tactic 3

Tactic 4

FEB 18

2/5 2/12 2/19 2/26

MAR 18

3/5 3/12 3/19 3/26

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APR 18

4/2 4/9 4/16 4/23 4/30

STRATEGY/TACTIC

Strategy 1

Tactic 1

Tactic 2

Tactic 3

Tactic 4

Tactic 5

Tactic 6

Tactic 7

Strategy 2

Tactic 1

Tactic 2

Tactic 3

Strategy 3

Tactic 1

Tactic 2

Tactic 3

Tactic 4

Strategy 4

Tactic 1

Tactic 2

Tactic 3

Tactic 4

MAY 18

5/7 5/14 5/21 5/28

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Budget Table

Tactics Detail Per item cost Total projected

Sponsored credit Actual projected

Strategy 1: To boost awareness about RMC of its publics through marketing collateral and interpersonal communication.

Tactic 1: RMC table at JMU events (frog week block party, on the quad during nice weather, etc.)

Custom RMC banner

$32 from vistaprint.com

$32 $0(possibly have

school of music sponsor)

$32

20 custom RMC shirts (one-time expense)

$240 $240 $0 $240

1,000 custom stickers

$50 from printrunner.com

$50 $0 $50

Tactic 2: RMC flyers on campus

500 custom flyers $60 $60 $0 $60

Tactic 3: Publish a story about RMC in the Breeze

Feature story about RMC in the Breeze

$7.25 $36.25 $0 $0

Tactic 4: RMC sponsored radio show on WXJM

RMC spokesperson to appear on show

$7.25 for an hour long appearance

$7.25 $7.25 (because the spokesperson

is a volunteer)

$0

Strategy 2: To establish positive relationships with JMU student organizations through interpersonal interac-tions with members of student arts/music organizations.

Tactic 1: Present about RMC to several appropriate on-campus organizations about how they could to start mutually beneficial relationships with the organization

Volunteers to present

$7.25/hour $7.25 $7.25 (because they are

volunteers)

$0

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Tactic 2: Offer the RMC venue as a resource for appropriate on-campus organizations

Volunteers to be willing to represent RMC

$7.25/hour $7.25 $7.25 (because they are

volunteers)

$0

Tactic 3: Begin a partnership with a JMU music organization (UPB); co-host/co-sponsor events with the partner

RMC to partner with UPB

$0 $0 $0 $0

Strategy 3: To increase awareness and encourage participation among JMU students, RMC will interpersonal-ly connect with public on the JMU campus by bolstering their on campus presence with events

Tactic 1: Hold informational events on campus

RMC collateral Shirts: $240Stickers: $50

$0 Already a pre-existing cost

$0

RMC Banner $32 from vistaprint.com

$0 Already a pre-existing cost

$0

RMC Flyers $60 from JMU Print Services

$0 Already a pre-existing cost

$0

A room on JMU campus

$120 Base Rate Highlands Room in Festival

$120 $0 $120

RMC presentation $0 $0 $0 $0

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Tactic 2: Hold fundraising event(s) on campus

A room on JMU Campus

$120 Highlands Room in Festival

$120 $0 $120

RMC Volunteers $0 $0 $0 $0

RMC Banner $32 from vistaprint.com

$0 Already a pre-existing cost

$0

Email List $0 $0 $0 $0

Several bands (who are willing to volunteer)

$0 $0 $0 $0

Physical tickets to sell

500 tickets for $33.65

$33.65 $0 $33.65

RMC Flyers $60 from JMU Print Services

$0 Already a pre-existing cost

$0

RMC Collateral Shirts: $240Stickers: $50

$0 Already a pre-existing cost

$0

Tactic 3: Sponsor an Open Mic Night

RMC Banner $32 from vistaprint.com

$0 Already a pre-existing cost

$0

RMC Flyers $60 from JMU Print Services

$0 Already a pre-existing

cost

$0

53

RMC Collateral Shirts: $240Stickers: $50

$0 Already a pre-existing

cost

$0

Tactic 4: T-Shirt Design Contest

Facebook followers

$0 $0 $0 $0

Contest winner’s designed T-Shirt

$340 for 50 shirts

$340 - t-shirts

sold

$0 $340

Strategy 4: To increase interactivity on Facebook and Instagram between RMC and its publics.

Tactic 1: Social media posts

RMC representative to post regularly on social media accounts

$7.25/hour, 7 hours/week; $50.75/ week

$1,776.25 for 35

weeks

$1,776.25 - work done by

a volunteer employee

$0

Tactic 2: Livestream RMC events

RMC representative to post Livestream

$7.25/hour, approx. 3 hours/event (occurring approx. every other month); $21.75/ event

$108.75 for 5

months or 5

events

$108.75 - work done by

a volunteer employee

$0

Tactic 3: Tutorial Tuesday

RMC representative to record and post

$7.25/hour, approx. 1 hour/ tutorial, 1 tutorial every other week

$94.25 for 13 weeks

$94.25 - work done by a volunteer employee

$0

Tactic 4: Online contests

RMC representative to post contest online

$7.25/hour, approx. 1 hour/ contest

$36.25 for 5

contests

$36.25 - work done by a volunteer employee

$0

Total Budget $995.65

Contingency (10% of total budget) $99.56

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Evaluation PlanGoal 1: Increase awareness of the existence of RMC and the services it offers (reputation management)

Objective 1: Increase the level of awareness about RMC by 20% among JMU underclassmen (freshmen and sophomores) by December 2017• Track awareness through an end of semester survey about brand recognition to be distributed to

freshman and sophomore level courses through JMU bulk email (with distribution settings set to Freshmen and Sophomores)

Objective 2: Increase the level of awareness about RMC by 20% among JMU students involved in music by December 2017• Develop an end of semester survey about brand recognition to be distributed in music courses and

music centered campus organizationsObjective 3: Increase the level of awareness of RMC by 20% among JMU students in CVPA about RMC by December 2017• Develop an end of semester survey about brand recognition to be distributed in CVPA courses and

through JMU bulk email (with distribution settings set to CVPA students)Objective 4: Strengthen RMC’s brand identity/recognition on the JMU campus by 30% by May 2018• Develop an end of year survey about brand recognition to be distributed around campus and through

JMU bulk email.Objective 5: Increase level of comprehension of 100 JMU underclassmen about RMC and the services/opportunities/benefits that it provides• Develop an end of semester survey about volunteer information and benefits to be distributed on SONA

and JMU bulk email (with distribution settings set to Freshmen and Sophomores)Objective 6: Educate 25 JMU students involved in music about RMC and the services/opportunities that it provides through an in person presentation• Count attendance at music organization presentations through a sign-in rosterObjective 7: Educate 40 JMU students in the CVPA about RMC and the services/opportunities that it provides through an in person presentation• Count attendance at CVPA in-class presentations through a sign-in roster

Goal 2: Establish positive relationships between RMC and its publics (relationship management)

Objective 1: Generate 10 partnerships with appropriate JMU organizations by May 2018• Compile a list of names and contact information with the organizations and keep track of how often

contact is keptObjective 2: Generate 5 relationships with JMU/student music organizations by May 2018• Compile a list of names and contact information with the organizations and keep track of how often

contact is keptObjective 3: Generate 50 digital interactions with JMU music students/organizations on Facebook by December 2017 (Interactions include liking, commenting, messaging, sharing posts, tagging RMC, using hashtags, etc.)• Track Facebook insights/analytics

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Objective 4: Verbally interact with 40 JMU underclassmen by May 2018• Track the amount of interpersonal conversations had by creating email lists with contact information

and student yearObjective 5: Verbally interact with 15 JMU students involved in music by May 2018• Track the amount of interpersonal conversations had by creating email lists with contact information

and student’s major

Goal 3: Encourage donations to/volunteerism for RMC (task management)

Objective 1: Recruit 80% of JMU student volunteers to sign up to volunteer again within 1 year of their original volunteering date• Develop a digital survey to send to previous volunteer’s to track their intentions to volunteer againObjective 2: Have 45 JMU underclassmen sign up to volunteer for RMC by May 2018• Track the number of volunteers present at each RMC eventObjective 3: Have 20 JMU students involved in music sign up to volunteer for RMC by May 2018• Track the number of volunteers present from each specific organization Objective 4: Have 20 JMU students in the CVPA sign up to volunteer for RMC by May 2018• Track the number of volunteers present from each college at each RMC eventObjective 5: Raise $1,500 for RMC from JMU students/from on-campus efforts by May 2018• Keep a detailed record of money accumulated from each event and donor

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references

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References

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Chu, J. (2015). National Endowment for the Arts 2015 Annual Report. National Endowment for the Arts. Retrievedfromhttps://www.arts.gov/sites/default/files/2015%20Annual%20Report.pdf.

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Deb, S. (2017, March 15). Trump proposes eliminating the arts and humanities endowments. The New York Times. Retrieved from https://www.nytimes.com/2017/03/15/arts/nea-neh-endowments- trump.html?_r=0

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Gioia, D. (2017, February 17). For the umpteenth time, the national endowment for the arts deserves its funding. Los Angeles Times. Retrieved from http://www.latimes.com/opinion/op-ed/la-oe-gioia- trump-administration-should-not-defund-the-nea-20170219-story.html

Grant, D. (2017, January 30). Assuming There Remains a National Endowment for the Arts. HuffingtonPost.Retrievedfromhttp://www.huffingtonpost.com/daniel-grant/assuming-there-re mains-a_b_14490852.html.

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Horwitz, A. (2017, January 31). Who should pay for the arts in america?. Retrieved from http://www. theatlantic.com/entertainment/archive/2016/01/the-state-of-public-funding-for-the-arts-in-ameri ca/424056/.

JamesMadisonUniversity.(2016).Factsandfigures.Retrievedfromhttps://www.jmu.edu/about/fact- and-figures.shtml

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Appendix A Have you ever volunteered in your community (Harrisonburg or hometown) before? Yes No

If you have, why? (mark all that apply) The organization was of personal interest You identified with/ supported the organization’s mission You volunteered for community service You volunteered for a class Friends have shown interest prior and you wanted to join them A chance to give back to any organization, regardless of the mission To use your professional skills to help others To spend productive time away from work/school To feel a sense of fulfillment To give back to the community To build on existing knowledge/expertise To develop new skills Other (please specify) ____________________ If you have, how likely are you to volunteer again? Extremely unlikely Somewhat unlikely Neither likely nor unlikely Somewhat likely Extremely likely If no, why not? (Check all that apply). I’ve never been asked to get involved I have not found an organization of personal interest in which I’d like to support It’s too difficult to get involved I don’t have the time I don’t know how to get involved Other (please explain). ____________________ How likely are you to perform volunteer service within your community (Harrisonburg or your hometown)? Extremely unlikely Somewhat unlikely Neither likely nor unlikely Somewhat likely Extremely likely If likely (based on response above) to perform service, why? (Mark all that apply). An organization is of personal interest You identify with/support an organization’s mission To connect with people in the community To socialize To log community service hours To develop new skills To build on existing knowledge/expertise To give back to the community To feel a sense of fulfillment To feel valued and part of a team

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To spend productive time away from work/school To use your professional skills to help others Other (please describe) ____________________ N/A - I am not likely to perform volunteer service

How interested would you be in attending the following events?(Not at all interested, Not very interested, Neutral, Interested, Very interested) Jam session Music lesson Community concert Sponsored concert/ show How likely would you be to attend the following events? (Extremely unlikely, Somewhat unlikely, Neither likely nor unlikely, Somewhat likely, Extremely likely) Jam session Music lesson Community concert Sponsored concert/ show How much do you value the arts (music, performing arts, visual arts, dance etc.)? None at all A little A moderate amount A lot A great deal To what extent do you see a need for musical exposure, interaction or education in local communities in the U.S.? None at all A little A moderate amount A lot A great deal

How important are community (in your community as well as in local communities in the U.S.) music education opportunities to you? Extremely important Very important Moderately important Slightly important Not at all important

How likely would you be willing to participate in increasing musical interaction in local communities in the U.S.? Extremely unlikely Somewhat unlikely Neither likely nor unlikely Somewhat likely Extremely likely Were you ever exposed to any music education opportunities (in schools, extra curricular activities, etc.)? Yes No

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If yes, to what extent (Select all that apply)? Elementary School Middle School High School College I’m in a band I take music lessons I “jam” with my friends and peers I’m in a music club/organization Other (please describe). ____________________ To what degree did you find that these musical experiences impacted your______? (Extremely positive, Moderately positive, Slightly positive, Neither positive nor negative, Slightly negative, Moderately negative, Extremely negative) Academic Performance Civic Engagement Workforce Opportunities What extracurricular activities/organizations are you involved in at JMU (check all that apply)? Greek Life (fraternity, sorority) Pre-Professional Society Professional organization (ie: an organization for Marketing, Public Relations, Education, etc.) Service organization/club Student Government Campus event planning (ie: UPB) Religious club/organization Cultural organization Varsity/Club/Intramural Sports Other (please specify:) ____________________ Have you ever been involved in any arts programs in the JMU community (check all that apply)? I’m in a band Through my major Through my minor Performing Arts group/club (A capella, dance, MRD, etc.) Other (please describe:) ____________________ Rank from 1-6 (1 being the most, 6 being the least) your most used social media platforms:______ Facebook______ Twitter______ Instagram______ Snapchat______ YouTube______ Pinterest

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From what sources do you obtain news? (Check all that apply). Social Media (Facebook, Twitter etc.) Online news publications (ie: websites) Print news publications (ie: newspaper, newsletters, magazines etc.) TV Radio Other (please specify). ____________________ How often do you stay current on news in Harrisonburg? A great deal A lot A moderate amount A little None at all If you do follow news in Harrisonburg, what sources do you use to do so? (Check all that apply). Daily News Record (Harrisonburg newspaper) WHSV (Harrisonburg’s local TV news station) JMU News sources (ie: The Breeze) Rocktown Weekly newspaper WXJM (Harrisonburg radio station) N/A, I don’t follow Harrisonburg news. Other (please specify). ____________________ Using a ranking system (1 the most preferred, 10 the least), what would be your preferred means of outreach for learning about opportunities in the community?______ Email______ Facebook______ Twitter______ Instagram______ Newsletter (paper)______ Newsletter (online)______ Radio______ Newspaper______ Flyers in local establishments______ Informational booth at an event What is your gender? Male Female

How old are you? Under 18 18 - 24 25 - 34

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What is your estimated annual household income? Less than $10,000 $10,000 - $19,999 $20,000 - $29,999 $30,000 - $39,999 $40,000 - $49,999 $50,000 - $59,999 $60,000 - $69,999 $70,000 - $79,999 $80,000 - $89,999 $90,000 - $99,999 $100,000 - $149,999 More than $150,000

What ethnicity are you? White Black or African American American Indian or Alaska Native Asian Native Hawaiian or Pacific Islander Other

What year in school are you? Freshman Sophomore Junior Senior Grad Student

What is your major at JMU?

What is your minor at JMU?

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Client: Rocktown Music Collective

Name of the Document: Team Member Approval Sheet- Reach Out ‘N Rock Out Campaign

Date: May 2, 2017

This submission is made with the approval of the Rockhingham Relations:

Name ___________________ Signature _______________ Date ________Account Executive

Name ___________________ Signature _______________ Date ________Research Director

Name ___________________ Signature _______________ Date ________Media and Issue Director

Name ___________________ Signature _______________ Date ________Client Relations Director

Name ___________________ Signature _______________ Date ________Programing Director

Name ___________________ Signature _______________ Date ________Creative Director