erican Participation in
pera and Musical Theater
!992
Maya Cherbo and Monnie Peters
*arch Division Report #32
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National Endowment for the Arts
AMERICAN PARTICIPATION
in
Opera and Musical Theater
1992
AMERICAN PARTICIPATION
in
Opera and Musical Theater
1992
Joni Maya Cherbo and Monnie Peters
Research Division Report #32
National Endowment for the Arts
Seven Locks Press
Carson, California
American Participation in Opera and Musical Theater — 1992 is Report #32 in a series
on matters of interest to the arts community commissioned by the Research Division
of the National Endowment for the Arts.
Cover: OperaDelaware's production of Die Fledermaus, with tenor Gerald Grahame
and soprano Candace Goetz. Photo by John Prettyman.
First printed 1995
Library of Congress Cataloging-in-Publication Data
Cherbo, Joni Maya, 1941-
American participation in opera and musical theater, 1992 / Joni Maya Cherbo
and Monnie Peters
p. cm.
ISBN 0-929765-38-9 (pbk.)
1. Opera — United States — Statistics. 2. Musical theater — United States —
Statistics. 3. Music surveys — United States. I. Peters, Monnie, 1948- . II. Title.
ML3795.C45 1995
782. Y 0973— dc20 95-32894
CIP
MN
Manufactured in the United States of America
Seven Locks Press
Carson, California
1-800-354-5348
Table of Contents
List of Figures vii
List of Tables vii
Foreword xi
Introduction 1
The 1982 and 1992 SPPAs 1
Executive Summary 3
Opera 3
Musical Theater/Operetta 6
PART I: Arts Participation Through Attendance 9
High-Frequency Attendees 10
Cross-Attendance Among Arts Attendees 1 0
Demographic Characteristics of Opera and
Musical Theater Attendees 12
Demographic Characteristics of High-Frequency Attendees 30
Summary 30
PART II: Arts Participation Through Media 34
Summary 39
PART III: Arts Participation Through Performance, Creation,
and Study 41
Personal Arts Participation 41
Demographic Characteristics of Opera and
Musical Theater Attendees Who Are Amateur
Arts Participants 46
Taking Arts Lessons and Classes 48
Summary 54
PART IV: Leisure Activities — Artistic and Other 56
Involvement in Other Arts and Cultural Activities 56
Comparing Types of Arts Participation 57
Involvement in Nonartistic Leisure Activities 58
Summary 62
v
vi I Contents
PART V: Attitudes Toward the Arts 64
The Desire to Attend More Arts Performances 64
Demographic Profiles of Those Who Want to
Attend More Performances 67
Music Preferences 70
Summary 72
PART VI: Related Research 75
Opera 75
Musical Theater 76
Summary 77
APPENDIX A: Survey of Public Participation in the Arts
Questionnaire, 1992 ^8
APPENDIX B: Additional Tables and Text on Media
Participation 85
APPENDIX C: Additional Tables on Personal Arts
Participation and Lessons/Classes 92
APPENDIX D: Methodology and Measuring Sampling Error 96
Notes 101
About the Authors 103
Other Reports on the 1 992 SPPA 104
Contents I vii
Figures
Figure 1 . Opera and Musical Theater Attendance by Gender,
1982 and 1992 14
Figure 2. Opera and Musical Theater Attendance by Marital Status,
1982 and 1992 16
Figure 3. Opera and Musical Theater Attendance by Race,
1982 and 1992 18
Figure 4. Opera and Musical Theater Attendance by Age,
1982 and 1992 21
Figure 5. Opera and Musical Theater Attendance by Place of
Residence, 1982 and 1992 25
Figure 6. Opera and Musical Theater Attendance by Education,
1982 and 1992 27
Tables
Table 1 . Attendance Rates and Audience for Selected Arts
Activities, 1992 9
Table 2. Changes in Attendance Rates at Selected Arts Activities,
1982-1992 10
Table 3. Number and Percentages of High-Frequency Attendees
of Selected Arts Activities, 1 992 1 1
Table 4. Cross-Attendance at Eight Selected Arts Activities,
1992 (%) 11
Table 5. Attendance at Selected Arts Activities by Gender,
1982 and 1992 (%) 13
Table 6. Attendance at Selected Arts Activities by Marital Status,
1982 and 1992 (%) 15
Table 7. Attendance at Selected Arts Activities by Race,
1982 and 1992 (%) 17
Table 8. Attendance at Selected Arts Activities by Age,
1982 and 1992 (%) 20
Table 9. Attendance at Selected Arts Activities by Income,
1982 and 1992 (%) 22
Table 10. Attendance at Selected Arts Activities by Place of
Residence, 1982 and 1992 (%) 24
Table 1 1 . Attendance at Selected Arts Activities by Education,
1982 and 1992 (%) 26
viii I Contents
Table 12. Attendance Rates for Selected Arts Activities by Parents'
Education, 1982 and 1992 (%) 29
Table 13. Demographic Characteristics of Opera and Musical
Theater Attendees, 1992 31
Table 14. Arts Media Participation and Live Attendance,
1982 and 1992 (% of U.S. Adult Population) 35
Table 15. Demographic Characteristics of Opera and
Musical Theater Media Participants and Performance
Attendees, 1992 (%) 36
Table 16. Selected Arts Attendees' Participation in Arts
via Media, 1992 (%) 38
Table 1 7. Participation in Arts via Media, 1 982 and 1 992 (%) 39
Table 18. Rank Order of Amateur Arts Participation, 1992 42
Table 19. Rank Order of Amateur-Professional Arts Participation,
1992 42
Table 20. Selected Arts Attendees' Participation in Amateur Arts,
1992 (%) 44
Table 21 . Selected Arts Attendees' Participation in Amateur-
Professional Arts, 1992 (%) 45
Table 22. Demographic Characteristics of Opera Attendees
Who Are Amateur Arts Participants, 1992 (%) 47
Table 23. Demographic Characteristics of Musical Theater Attendees
Who Are Amateur Arts Participants, 1992 (%) 49
Table 24. Arts Lessons/Classes Taken During Previous Year,
1992 (%) 51
Table 25. Age at Which Adult Population and Opera and Musical
Theater Attendees Took Arts Lessons/Classes, 1992 (%) 52
Table 26. Percentages of Adult Population and Selected Arts
Attendees Who Have Ever Taken Arts Lessons/Classes, 1992 53
Table 27. Participation in Other Arts and Cultural Activities,
1992 (%) 56
Table 28. Adult Population's Participation in Any Selected Arts
Activities, Opera Activities, and Musical Theater
Activities, 1992 57
Table 29. Comparison of Types of Arts Participation, 1992 (%) 59
Table 30. Involvement in Non-Artistic/Cultural Activities by Adult
Population and Selected Arts Attendees, 1992 (%) 61
Table 3 1 . Rank Order of Leisure Activities Among U.S. Adult
Population, 1992 62
Table 32. Rank Order of Leisure Activities Among Opera and
Musical Theater Attendees, 1992 63
Contents ix
Table 33. Percentages of Adult Population Who Want to Attend
More Selected Arts Performances, 1982 and 1992 64
Table 34. Percentages and Numbers of Adults and Selected Arts
Attendees Who Want to Attend More Arts Performances,
1992 66
Table 35. Demographic Characteristics of Those Wanting to Attend
More Opera and Musical Theater, 1992 (%) 68
Table 36. Music Preferences, 1982 and 1992 (%) 71
Table 37. Favorite Type of Music, 1982 and 1992 (%) 73
Table B-l. Arts Participation via TV or VCR by Selected Arts
Attendees, 1982 and 1992 (%) 86
Table B-2. Arts Participation via Tapes/Records/CDs by Selected Arts
Attendees, 1982 and 1992 (%) 87
Table B-3. Arts Participation via Radio by Selected Arts Attendees,
1982 and 1992 (%) 89
Table B-4. Demographic Characteristics of Opera and Operetta/
Musical Theater Media Participants, 1992 (%) 90
Table C- 1 . Amateur Arts Participation by Attendance at Selected Arts
Activities, 1982 (%) 93
Table C-2. Amateur-Professional Arts Participation by Attendance at
Selected Arts Activities, 1 982 (%) 94
Table C-3. Arts Lessons/Classes by Attendance at Selected Arts
Activities, 1982 and 1992 (%) 95
Table D- 1 . Sampling Error Calculations: 1 992 SPPA Data 1 00
Foreword
According to OPERA America's most recent Professional Opera Survey,
opera companies in the United States collectively spent more than
$32 million to market performances to current and prospective audiences in
1994. OPERA America research also reveals, however, that many of these opera
companies do not engage in a regular program of research. Some companies
survey current attendees, audience surveys being the preferred method. Few
companies study the attitudes and behaviors of prospective attendees.
An illogical and potentially wasteful situation results. Millions of dollars are
spent to promote opera through brochures and advertising that only guess at
what it takes to motivate the purchase of a subscription or single ticket.
The National Endowment for the Arts has taken admirable steps to assist
the field in learning more about its current audience through the research
monograph American Participation in Opera and Musical Theater — 1992.
Undertaken in association with the U.S. Bureau of the Census, this monograph
analyzes arts participation in opera and musical theater/operetta in 1992 and
compares it with participation 10 years earlier.
As in any research project, there are definitions and assumptions established
by the researchers with which professionals working in the field may take issue.
Similarly, some audience development strategies suggested in the report may
seem obvious or elementary to the seasoned professional. However, much of
the data contained in the monograph is informative, thought-provoking, and
encouraging.
Consider the following findings:
■ Concern over the graying of the audience appears unwarranted. The opera
audience appears to be perpetuating itself . . . the largest proportion of
today's audience consists of middle-aged persons (25 to 49 years old), not
senior citizens.
■ Clearly, opera's appeal surpasses its audience demographics The number
of persons who watch or listen to opera on the media is far greater than the
number who attend live performances. . . . Many more individuals claimed
they wanted to attend more opera than actually attended (7.4 percent
expressed such a desire in 1982, and 1 1.0 percent did so in 1992). This 1 1
percent of the general population who desired to attend more opera
consisted of the 1.6 percent who were current opera attendees and 9.3
percent who were not. . . . Over 17 million adults are not opera-goers but
wish to attend.
xii I American Participation in Opera and Musical Theater — 1992
■ The . . . data show a strong relationship between early general arts education
and adult opera attendance. . . . [Opera-goers] tend to be introduced to
music at an early age and stay connected either by attending live perform-
ances, playing a musical instrument, or taking voice lessons.
■ The proportion of Asians who attend opera is larger than their proportion
in the population as a whole. ... In 1992, Asians made up 2.6 percent of
the adult U.S. population; yet they accounted for 3.7 percent of the general
opera audience and 14.5 percent of the high-frequency audience.
■ Opera, like the other [selected arts activities] , tends to attract more women
than men, but the proportion of men has grown significantly since 1982.
Additional analysis will encourage professionals responsible for building
audiences. As the report states, "Fondness for opera exceeds what live audience
numbers indicate."
Between 1982 and 1992, the percentage of the general public that attends
opera increased. Indeed, the rate of increase was among the largest of all the arts
activities studied. The percentage of high-frequency attenders among opera
audiences — defined as those attending three times or more within a year — is
lower than for most of the arts activities covered in the study. Increasing repeat
attendance among current audiences could yield significant gains in earned
revenue. The report indicates that "almost 3 million adults are opera-goers who
want to attend more opera."
Among the arts activities covered in the monograph, opera has the widest
gap between the rate of participation via the media versus attendance at live
performances. While 3.3 percent of the adult U.S. population attends opera,
18.1 percent enjoys opera via the media, representing an enormous potential
audience base.
The report verifies many of the audience characteristics that have been
revealed by surveys administered by opera companies across North America.
"Opera fans are . . . true arts buffs. Opera attendees are more likely than any
other arts attendee group studied to attend all the other fine arts."
Yet, the report contains interesting surprises, too, that open up new possi-
bilities for audience development activities:
Curiously, visual arts activities, not musical activities, predominate among
opera-goers at the amateur level. . . . Opera attendees are the most likely of all
the selected arts attendees to own original art, [or] to have recently purchased
a piece of art.
Contemplating their findings, the authors of the monograph pose a chal-
lenging question: "How, then, to bring persons to the muse? Understanding
Foreword
the potential audience for opera, how to reach them, and whether they are
candidates for live productions remain questions for the field."
Thanks to additional support from the National Endowment for the Arts,
OPERA America and the agency soon will embark on a multiyear program of
additional research to answer these questions. The first phase of the initiative
will investigate the attitudes of first-time ticket buyers. The results of this study
will be released in 1996.
This additional research will build on the strong foundation laid by the
authors of the present monograph. With thanks to them and to the NEA, I
commend this report to you, knowing it will answer some questions and lead
to many new ones we will work together to understand.
Marc A. Scorca
Executive Vice President and Chief Executive Officer
OPERA America
Introduction
In 1982, 1985, and 1992, the National Endowment for the Arts (NEA) funded
nationwide surveys conducted by the U.S. Bureau of the Census on arts
participation among adults in the United States. The purpose of these Surveys
of Public Participation in the Arts (SPPAs) was to track Americans participation
in the arts and document other aspects of arts participation. Summary reports
and secondary analyses for all three surveys are available from the NEA.
This monograph analyzes participation in opera and musical theater/operetta
in 1992 and compares it with participation 10 years earlier. It is one of 15
secondary analyses of the 1992 SPPA.
The 1 982 and 1 992 SPPAs
The 1982 survey interviewed 17,254 Americans aged 18 and over. Respon-
dents were part of a larger survey that used revolving panels. The SPPA portion
was administered for each of the 12 months of 1 982. The response rate was over
85 percent. Three-fourths of the respondents were interviewed in person, the
remainder by telephone. The demographic data were weighted to reflect U.S.
population characteristics so that the results could be projected to the total U.S.
population.
The 1992 survey interviewed 12,736 Americans aged 18 years and older.
Respondents were part of an ongoing larger, monthly survey that used revolving
panels of approximately 1,000 persons each. The response rate was 80 percent.
Three-fourths of the interviews were by telephone, one-fourth were conducted
in person. As in 1982, the data were weighted to reflect the U.S. population.
Survey questions covered several aspects of arts participation, including live
attendance, watching or listening via the media, and creating and performing
art. Questions also asked about background characteristics of respondents,
nonartistic and other leisure activities, and attitudes toward the arts. Many of
the questions facilitated comparisons between 1982 and 1992 data; others did
not. The 1992 questionnaire asked more in-depth questions on arts participa-
tion.2 Despite these limitations, many instructive comparisons between the two
sets of data were possible.
Musical theater/operetta and opera are two distinct art forms among eight
that were covered in the 1992 survey. The other art forms were classical music,
jazz, plays, ballet, other dance forms, and art museums.3 These "selected arts
activities," or "benchmark arts activities," were considered core arts, although
2 I American Participation in Opera and Musical Theater — 1992
the survey also included participation in many other art forms, such as photog-
raphy and sewing. Throughout this monograph, the phrases "benchmark arts
activities" and "selected arts activites" are interchangeable.
Opera is generally considered a musical drama that is sung in its entirety
without spoken dialogue, while musical theater/operetta is both sung and
spoken. Certain productions have blurred this distinction. For instance, Phan-
tom of the Opera, though done entirely in song, is considered musical theater;
The Houston Grand Opera produced Showboat, a musical. Yet the difference
between the two forms is fairly well accepted within the popular vernacular.
Thus, confusion in answering the survey questions regarding these two art forms
would be miniscule.
This monograph discusses four ways in which an individual can participate
in the arts: (1) attending arts events; (2) watching or listening to arts programs
on the media; (3) creating, performing, or displaying an art; and (4) studying
the arts in classes. First we look at aspects of each means of participation
individually, then we examine their interrelationships. The demographic back-
grounds of arts participants are reviewed. We look at participation in arts other
than the benchmark activities and compare participation in artistic versus
nonartistic activities. We review select attitudes toward the arts and offer some
observations on marketing the arts. Finally, we look at studies done by arts
service organizations and others related to opera and musical theater attendance.
Executive Summary
Opera and musical theater/operetta are both musical and dramatic an
forms. However, our findings indicate that they are very different in terms
of popularity and the type of persons they attract. Therefore, this summary
addresses each separately.
Opera
Participation
Opera is the least popular of the fine arts. Between 1982 and 1992 it
remained the least attended of all the arts surveyed in the SPPA (see Tables 1
and 2). In 1992, only 3.3 percent of the population, representing 6.1 million
persons, attended opera at least once during the year before the survey date.
Similarly, in 1992 opera ranked lowest of all the selected arts activities in
overall rates of media participation (see Table 14). A total of 18.1 percent of
the population, or 33.6 million adults, watched or listened to opera on the
media.
Opera ranked 1 3th in popularity among 1 4 amateur arts activities (see Table
18). The survey data show that 1.2 percent of the adult population, or 2.23
million persons, sang opera either as a hobby or for a public performance.
Combining these three dimensions of arts participation, we find that overall
opera participation involved 18.7 percent of the adult population, or 34.7
million persons (see Table 28). Many people participated in more than one
dimension: for example, of those who went to live performances, over two-thirds
(66.8 percent) also watched and/or listened to opera via the media, and 8.1
percent also sang opera.
Though opera remains the least frequented of all the fine arts, between 1982
and 1992, the actual number of persons involved increased. The proportion of
adults attending opera increased by 0.3 percentage points. As well, the U.S.
adult population grew by over 21 million persons. Thus in 1992, 6.1 million
persons attended live opera versus 4.9 million in 1982.
Overall opera media participation also grew slightly during this 10-year
period, from 17.4 percent in 1982 to 18.1 percent in 1992. Because of the
population growth, the actual number of persons enjoying opera via the media
rose from 28.6 million persons to 33.6 million.
American Participation in Opera and Musical Theater — 1992
When asked which of the selected arts activities they would like to attend
more often, opera is the last choice among both the general population and
among selected arts attendees.
Arts Involvement
While the numbers of adult Americans involved in opera are relatively few,
the extent of their involvement in the arts in general is substantial. Opera fans
are the artistic elite and true arts buffs. Opera attendees are more likely than any
other arts attendee group to attend allthe other fine arts. More of their numbers
attend musicals, classical music concerts, jazz performances, plays, ballet, other
dance performances, and art museums. They are also more likely than all other
arts attendees to express a desire to attend more of all of the other fine arts.
Music is introduced early in the lives of opera-goers. In comparison with
the other arts attendees, opera-goers are more likely to have taken music lessons
(either voice training or playing an instrument) before age 18. Over 79 percent
of those who took music lessons did so before they were 18 years old.
Music in general seems to pervade the lives of opera-goers. Asked about 21
different types of music in both 1982 and 1992, opera-goers showed a signifi-
cant interest in more types of music than any other arts attendee group.
Demographic Profiles
Looking at the demographic profiles of opera attendees, we find that in
comparison with other arts-goers, they are better educated, wealthier, and
somewhat older. Opera audiences are predominantly white, college educated,
suburban residents; 55 percent of the audience are female; the majority are
married; and over 45 percent have incomes over $50,000. While this profile
characterizes the opera audience, it does not describe the wide spectrum of
individuals who attend opera.
More men and Asians were in the opera audience in 1992 than in 1982, as
were more central-city dwellers. The education level of opera attendees rose, as
did the proportion of attendees with high incomes. This profile is exaggerated
for high-frequency opera attendees: more of their numbers are older, Asian, and
almost half have postcollege education and are in the highest income bracket
(see Table 13).
Concern over the graying of the audience appears unwarranted. The opera
audience appears to be perpetuating itself. Younger persons are attending in
about the same proportions in 1992 as they did in 1982, and the largest
proportion of today's audience consists of middle-aged persons (25 to 49 years
old), not senior citizens.
Executive Summary I 5
The number of persons who watch or listen to opera on the media is far
greater than the number who attend live performances (18.1 percent versus
3.3 percent). Media accessibility allows for a much wider audience. The
demographic profile of opera media participants differs from attendees in that
more elderly, less affluent, more rural, and fewer highly educated persons are
involved with opera via the media. From this profile, we can conclude that
opera has a wider appeal than live audience numbers alone indicate. It suggests
that barriers such as cost and accessibility may continue to limit attendance at
live performances.
While media demographics suggest that barriers to live attendance exist,
other factors should also be considered. Over the last 10 years technological
advances in media have been significant. Music listening in general has risen in
the United States. Opera is more available on videos, CDs, and tape cassettes.
Yet increased availability does not seem connected with greater media involve-
ment, as opera media participation has remained fairly stable between 1982 and
1992, rising less than 1 percentage point.
Rather it appears that a substantial portion of the population who are opera
listeners or watchers are not predisposed to attend live opera. They prefer to
hear or see opera more casually in the privacy of their homes and cars. They
may be predominantly listeners rather than viewers. What may engage them is
the music, not the visual drama.
Expanding Audiences
The thrust among the opera organizations has been to expand opera
audiences. Significant thought and funds have been devoted to this end, but
with modest success. Introducing and expanding access to opera music both for
adults and children might be more productive. Attendance may be a logical next
step for those individuals who find opera music compelling. Many more
individuals claimed they wanted to attend more opera than actually attended
(7.4 percent expressed such a desire in 1982, and 1 1.0 percent did so in 1992).
This 1 1 percent of the general population who desired to attend more opera
consisted of 1 .6 percent who were current opera attendees and 9.3 percent who
were not.
Demographic profiles of current opera-goers who said they wanted to attend
more opera are similar to the profiles for current attendees in general, although
there are higher percentages of Asians, older persons, and suburban residents.
Among the aspirants who do not currently attend, however, more tend to be
female, Hispanic, older, less well educated, and less affluent.
Clearly, opera's appeal surpasses its general audience profile. How, then, to
bring persons to the muse? Understanding the potential audience for opera, how
American Participation in Opera and Musical Theater — 1992
to reach them, and whether they are candidates for live productions remain
questions for the field. The SPPA data suggest possible avenues to explore in
this regard.
The field could look at groups whose profiles are not those of opera's
mainstream attendees: for example, attendees who express the desire to attend
more, especially infrequent goers; nonattendees who attend other selected arts
events; opera media buffs; those who sing opera but do not attend. Barriers to
attendance identified by the field, such as cost, travel, age, intimidation, and so
forth, have to be factored into audience development.
Both K-12 and adult education programs have to be considered as a means
of introducing persons to operatic music and drama. Without exposure poten-
tial opera buffs could be stillborn. The SPPA data show a strong relationship
between early general arts education and adult opera attendance. Opera educa-
tion within a general arts education might strengthen this connection.
Musical Theater/Operetta
Participation
Musical theater is a true American art form both in terms of its popularity
and the type of individuals it draws. Second only to art museums in popularity,
musical theater/operetta draws 17.4 percent of the adult population, or 32.3
million persons.
In contrast to opera, musical theater/operetta's primary appeal is live
performance. Media participation for musicals is about equal to live attendance:
20.6 percent, or 38.3 million adults. Singing musicals/operettas as an amateur
activity is not very popular, engaging only 3.8 percent of the population.
Arts Involvement and Demographic Profiles
As is the case with opera, the significance of early arts education emerged
in the SPPA data. While 57.4 percent of the general population had taken arts
lessons or classes at some point in their lifetime, 82.2 percent of musical theater
attendees had done so; 70.6 percent of those who had taken music or voice
lessons had done so before age 18. An early introduction to the arts appears to
be an important factor in producing adult arts participants.
Demographic profiles of attendees are closer to the profiles of the American
public in general than are the profiles of any of the other selected arts attendees.
In other words, the American musical theater audience is most representative
of the American population.
Executive Summary I 7
The typical musical theater attendee is a white, married, female, suburban
resident between the ages of 25 and 54, college educated, with an income
between $25,000 and $49,999. This profile changed little between 1982 and
1992, except that more of the audience is in the 45-to-54 age bracket.
Expanding Audiences
Musical theater's popularity is further substantiated by the numbers who
want to attend more musicals. In both 1982 and 1992, SPPA respondents
picked musicals and art museums as their top two choices among the selected
art forms they would like to attend more of. Also, the desire to attend more
musical theater grew by 3.8 percentage points during the period. In 1992, 36.2
percent of the population (over 67 million adults) said they wanted to attend
more musical theater.
More than twice the number of people wanted to attend more musical
theater as actually attended (36.2 percent versus 17.4 percent). Among the
aspirants, about one-third were already attendees, and two-thirds did not attend.
While the profiles of musical theater-goers who want to attend more frequently
parallel those of current goers, profiles of nonattendees showed a higher
proportion of Asians, older folks, less educated persons, less affluent persons,
and rural residents.
Once again, significant barriers appear to keep some people from attending.
But other factors must be considered as well. Attendance at musical theater
decreased between 1982 and 1992 by 1.2 percentage points. In addition,
listening to and watching musicals via the media dropped by 4.8 percentage
points (see Table 14). The decreased demand represented by these statistics may
be due to decreased supply. The number of new musicals produced continued
to drop during the 1982-1992 period from its all-time high in the early 1980s.
Fewer revivals were produced as well. Yet the SPPA study indicates that the
demand for musicals remains high.
On the surface it appears as if the American public adores musicals. Many
more would attend if factors such as cost and accessibility were not issues. And
even more would perhaps attend if new musicals were produced. The research
and development branches of the American musical theater industry need to
proceed accordingly. Encouraging new writers and composers and bringing new
musicals to fruition might spawn a new efflorescence in musical theater.
In sum, opera and musical theater are alive and well in the United States.
Live opera and opera music command a small but consistent group of devotees
who have replenished themselves over the decade. Evolving out of an amalgam
of European opera and American vaudeville, musical theater has become a
8 I American Participation in Opera and Musical Theater — 1992
popular American art form, one of the most favored of the fine arts, and one
whose audience is most representative of the larger population. Both opera and
musical theater appeal to a wider audience than presently attends. Both have
room to grow!
Arts Participation
Through Attendance
Opera and musical theater/operetta were two of the seven benchmark arts
activities covered in each of the SPPA surveys. An eighth arts activity,
"other dance," was added in the 1992 SPPA. Table 1 shows the attendance rate
and audience size for each of the benchmark arts activities in 1992. Attendance
rates were computed from the SPPA survey questions that asked respondents
whether they had attended each of the selected arts within the last 1 2 months
and if so, how often. Audience size was computed by multiplying attendance
rates for each selected art by the U.S. adult population of 185.838 million
persons in mid- 1992. As the data make clear, opera and musical theater are
almost at opposite ends of the attendance spectrum. Opera has the lowest
attendance rate and draws a small audience (about 6.1 million adults), while
musical theater has an attendance rate and audience (more than 32.3 million
adults) exceeded only by art museums.
Table 2 shows the changes in rates of attendance between 1982 and 1992.
The rank order of the selected arts activities remained consistent.
Overall, 42.5 percent of the adult United States population attended at least
one of the selected arts activities in 1992. Excluding "other dance," which was
not a category in 1982, the rate for attendance at benchmark arts activities is
41.3 percent. This represents an increase of approximately 2 percentage points
over the 1982 attendance rate of 39 percent.
TABLE 1.
Attendance Rates and Audience
Selected Arts Activities, 1 992
for
Attendance Rate
Estimated U.S.
Arts Activity
(%)
Audience (millions)
Opera
3.3
6.1
Ballet
4.7
8.7
Other dance
7.1
13.2
Jazz
10.6
19.7
Classical music
12.5
23.2
Plays
13.5
25.1
Musicals
17.4
32.3
Art museums
26.7
49.6
Any selected
arts activities
42.5
79.0
10 I American Participation in Opera and Musical Theater — 1992
TABLE 2.
Changes in Attendance Rates at Selected Arts
Activities, 1982-
-1992
Attendance Rate (%)
Change
Arts Activity
1982
1992
1982-92
Opera
3.0
3.3
0.3
Ballet
4.2
4.7
0.5
Other dance
*
7.1
*
Jazz
9.6
10.6
1.0
Classical music
13.0
12.5
-0.5
Plays
11.9
13.5
1.6
Musicals
18.6
17.4
-1.2
Art museums
22.1
26.7
4.6
Any of seven
selected arts activities
39.3
41.3
2.0
Note: Information is statistically significant at the 95% confidence level
(see Appendix D).
*The 1982 su
rvey did not include "other dance."
Comparison
of any selected art includes all arts except
"other dance."
High-Frequency Attendees
Frequent attendees tend to be the "hard core," those for whom attending
an artistic form is a preferred activity or a vocational pursuit. They are also the
mainstay of artistic organizations. Table 3 presents numbers and percentages
for high-frequency attendees — those who went three times or more to a given
art form during the year.
While one might expect the more rarefied art forms, such as opera and ballet,
to have the highest proportion of high-frequency attendees, art museums have
the highest number of "repeaters." Among opera attendees, 15.2 percent of the
3.3 percent who attended opera in 1992, or about 930,000 individuals (0.5
percent of the general population), were high-frequency attendees.
Among musical theater attendees, 22.4 percent of the 17.4 percent who
attended musical theater in 1992, or about 7.25 million persons (3.9 percent
of the general population), were high-frequency attendees.
Cross-Attendance Among Arts Attendees
Individuals tend to frequent more than one art form. While one might
expect that attendees of the various selected arts activities would differ in their
Arts Participation Through Attendance I 1 1
TABLE 3.
Number and Percentages of High-Frequency
Attendees of Selected Arts Activities, 1 992
Arts Activity
Attendance
Rate Among
General
Population (%)
High-Frequency
(3+ times) Attendees
Estimated #
(millions) of
Frequent
Attendees*
%of
Attendees
% of General
Population
Opera
3.3
15.2
0.5
0.929
Musicals
17.4
22.4
3.9
7.248
Classical music 12.5
30.4
3.8
7.062
Jazz
10.6
30.2
3.2
5.947
Plays
13.5
27.4
3.7
6.876
Ballet
4.7
10.6
0.5
0.929
Other dance
7.1
21.1
1.5
2.788
Art museums
26.7
35.2
9.4
1 7.469
*Based on a total national adult population of 185.838
million
preferences for other arts activities, attending art museums and musicals uni-
formly appealed to all. Among attendees of each of the selected arts, the highest
proportion attend art museums, followed by musical theater. Thereafter, the
choices among the arts attendees differed, as shown in Table 4.
Attending opera is the last choice among attendees of the other selected arts.
Opera-goers, however, are true arts buffs. (Ballet patrons rank second.) They
TABLE 4.
Cross-Attendance at
Eight
Selected Arts
Activities, 1992 (%)
Musical
Classical
Other
Art
Opera
Theater
Music
Jazz
Plays
Ballet
Dance
Museums
Opera
—
11.7
16.3
10.9
11.7
21.4
10.2
8.9
Musicals
62.3
—
51.4
44.0
53.2
54.0
43.6
38.7
Classical music
; 62.2
36.8
—
39.1
40.0
51.2
39.0
31.5
Jazz
35.2
26.8
33.3
—
33.3
34.4
32.3
25.3
Plays
48.1
41.1
43.2
39.7
—
45.5
36.5
32.0
Ballet
30.2
14.5
19.1
15.1
15.7
—
18.9
12.3
Other dance
22.1
17.9
22.3
21.7
19.4
29.0
—
16.9
Art museums
72.3
59.3
67.3
63.7
63.4
70.7
63.2
—
Note: Read table down. For exampl
e, amon
g those who attend opera,
72.3%
also
attend art museums.
12 I American Participation in Opera and Musical Theater — 1992
personify the concept "the more, the more" in arts attendance, being more likely
to attend six of the other selected arts activites ("other dance" being the
exception) than any of the other selected arts attendees. Musical theater atten-
dees (along with art museum patrons) are least likely to go to the other art forms.
Demographic Characteristics of Opera and
Musical Theater Attendees
The 1982 and 1992 SPPAs examined arts attendance according to seven
demographic variables: gender, marital status, race, age, income, residential
location, and education level of both the attendees and their parents.
Gender
Table 5 presents the data regarding gender among attendees of the selected
arts activities. For all the art forms except jazz, women attendees outnumber
men. This gender gap is about 10 percentage points for all selected arts activities
except "other dance" and 1992 attendance at art museums.
Opera is attracting more men than in years past. In 1982, the opera
attendance rate for women was 16.2 percentage points greater than the rate for
men; but by 1992, the gender gap had narrowed to 10 percentage points. In
1 992, the percentage of men attending opera increased by 3. 1 percentage points.
(See Figure 1 .)
The gender gap for musical theater was tipped toward women by more than
16 percentage points in 1982 and about 17 percentage points in 1992, remain-
ing fairly constant over the decade.
Compared with the other surveyed arts, musical theater falls in the middle
in terms of the proportion of women to men. Ballet performances attract
significantly more women than men, and art museums attract a more equal
contingent of both sexes.
Marital Status
Statistics on the marital status of most of the arts attendees, including those
who attend opera and musical theater, remained relatively consistent between
1982 and 1992, and they tend to follow the general population profile. As
shown in Table 6, well over 50 percent of all attendees except those for jazz are
married, about 24 percent never married, about 6 percent are widowed, more
than 9 percent are divorced, and about 2 percent are separated. Only the
proportion of divorced persons has risen slightly, by about 2 percentage points.
Arts Participation Through Attendance I 13
TABLE 5.
Attendance at Selected Arts Activities by
1982 and 1992 (%)
Gender,
U.S. Adult Pop
illation
/Viale
Female
Total
1982
1992
164,575,000
185,838,000
47.1
47.9
52.9
52.1
100.0
100.0
Arts Activity
Attendance Rate
Among U.S. Adult
Population
Opera
1982
1992
3.0
3.3
41.9
45.0
58.1
55.0
100.0
100.0
Musicals
1982
1992
18.6
17.4
41.9
41.5
58.1
58.5
100.0
100.0
Classical music
1982
1992
13.0
12.5
40.7
44.1
59.3
55.9
100.0
100.0
Jazz
1982
1992
9.6
10.6
50.4
53.6
49.6
46.4
100.0
100.0
Plays
1982
1992
11.9
13.5
42.6
43.6
57.4
56.4
100.0
100.0
Ballet
1982
1992
4.2
4.7
30.0
36.9
70.0
63.1
100.0
100.0
Other dance*
1982
1992
7.1
45.2
54.8
100.0
Art museums
1982
1992
22.1
26.7
44.8
47.5
55.2
52.5
100.0
100.0
Note: All the tables in this section on demographics read across. For example, of the
3.3% of the general population who attended opera in 1992, 45% were male and
55% were female.
*The 1982 survey did not include "other dance."
This reflects a comparable change in the general population from 1982 to 1992.
(See Figure 2.)
Race
As shown in Table 7, significantly more whites than nonwhites attend the
selected arts activities, but a notable increase in nonwhite attendance occurred
between 1982 and 1992. Though this is a noteworthy trend, the data do not
show which racial groups experienced an increase. The 1992 questionnaire
1 4 I American Participation in Opera and Musical Theater — 1 992
FIGURE 1 . Opera and Musical Theater Attendance
by Gender, 1982 and 1992
200.0-
1982 1992 1982 1992 1982 1992
General population Musical theater attendees Opera attendees
] male tW±\ female
Arts Participation Through Attendance I 15
TABLE 6. Attendance at Selected Arts Activities by Marital
Status, 1982 and 1992 (%)
Never
U.S. Adult Population Married Widowed Divorced Separated Married Total
1982 164,575,000
62.8
7.6
6.3
2.6
20.6
99.9
1992 185,838,000
58.8
7.2
8.7
2.9
22.3
99.9
Attendance
Rate Among
U.S. Adult
Arts Activity
Population
Opera
1982
3.0
54.0
8.2
7.3
2.0
28.5
100.0
1992
3.3
57.9
6.4
9.4
2.1
24.1
99.9
Musicals
1982
18.6
62.4
5.5
7.0
2.0
23.0
99.9
1992
17.4
59.3
5.9
9.4
2.1
23.3
100.0
Classical
1982
13.0
58.9
6.4
8.7
1.9
24.1
100.0
music
1992
12.5
57.8
5.8
10.0
2.0
24.4
100.0
Jazz
1982
9.6
44.3
1.9
9.7
3.3
40.8
100.0
1992
10.6
48.1
3.0
13.1
2.6
33.3
100.1
Plays
1982
11.9
60.1
5.0
7.6
2.1
25.2
100.0
1992
13.5
56.3
6.0
10.0
1.7
26.1
100.1
Ballet
1982
4.2
53.7
5.5
9.1
2.0
29.7
100.0
1992
4.7
53.6
4.3
11.7
2.4
28.0
100.0
Other
1982
dance*
1992
7.1
52.6
5.7
10.7
2.5
28.5
100.0
Art
1982
22.1
60.6
4.0
7.5
2.1
25.7
99.9
museums
1992
26.7
56.9
3.9
9.8
2.3
27.0
99.9
Note: Not all percentages add up to 100.0% due to rounding.
*The 1982 survey did not include the category " other dance."
separated Hispanic, Native American, and Asian from the "other" category. The
1982 questionnaire did not break down the "other" race category, and most
Hispanics were coded under the category "white." The increase in the number
of nonwhite attendees between 1982 and 1992 is a marked trend in the arts,
indicating a growing pool of potential arts-goers. (See Figure 3.)
The data indicate that 15.3 percent of the audience for opera in 1992 was
nonwhite; blacks accounted for 6.6 percent, Hispanics for 4.4 percent, Asians
for 3.7 percent, and Native Americans for 0.6 percent. The proportion of Asians
1 6 I American Participation in Opera and Musical Theater — 1992
FIGURE 2. Opera and Musical Theater Attendance
by Marital Status, 1982 and 1992
200
J\
" /
0 100.0-
20.0-
0.0'
5.0
1982 1992
General population
2.0%
7.0%
s^:
mh*
7777;
5.9% {
62.4=
9.4%
59.3s
28.5%
2.0%
7.3%
8.2%
f
54.0%
a<u%
2.1%
9.4%
6.4%
57.9% 1
I
1982 1992 1982 1992
Musical theater attendees Opera attendees
I j married
R^ separated
widowed [] divorced
never married
Note: Not all percentages add up to 1 00% due to rounding.
Arts Participation Through Attendance I 1 7
TABLE 7
. Attendance at Selected Arts Activities by Race,
1982 and 1992 (%)
1 992 Breakdown of
"Other" Cate
gory*
Native
U.S. Adult Population
White
Black
Other
Total
HispanicAmer.
Asian
1982 164,575,000
87.1
10.6
2.3
100.0
1992 185,838,000
0 982 format
)85.5
11.3
3.2
100.0
(1992 format) 77.5
11.2
11.4
100.1
8.3 0.5
2.6
Attendance
Rate Among
U.S. Adult
Arts Activity
Populatior
i
Opera
1982
3.0
93.0
4.7
2.3
100.0
1992
3.3
89.0
6.6
4.5
100.1
1992
3.3
84.7
6.6
8.7
100.0
4.4 0.6
3.7
Musicals
1982
18.6
92.7
5.7
1.6
100.0
1992
17.4
88.8
9.3
2.0
100.1
1992
17.4
84.7
9.2
6.2
100.1
4.2 0.4
1.6
Classical
1982
13.0
92.9
5.4
1.6
99.9
music
1992
12.5
90.7
6.3
3.1
100.1
1992
12.5
87.0
6.2
6.9
100.1
3.8 0.4
2.7
Jazz
1982
9.6
80.9
17.1
2.0
100.0
1992
10.6
81.1
17.3
1.6
100.0
1992
10.6
76.6
17.1
6.2
99.9
4.6 0.4
1.2
Plays
1982
11.9
93.4
5.1
1.5
100.0
1992
13.5
87.5
10.2
2.3
100.0
1992
13.5
82.4
10.0
7.6
100.0
5.3 0.7
1.6
Ballet
1982
4.2
93.8
4.2
2.0
100.0
1992
4.7
89.7
6.6
3.7
100.0
1992
4.7
83.8
6.3
9.9
100.0
6.2 0.1
3.6
Other
1992
7.1
84.4
11.6
4.1
100.1
dance
1992
7.1
76.9
11.2
12.0
100.1
8.0 1.7
2.3
Art
1982
22.1
91.3
5.9
2.8
100.0
museums
1992
26.7
88.5
8.1
3.4
100.0
1992
26.7
83.2
8.1
8.7
100.0
5.4 1.5
2.8
Note: Not all percentages add
up to 100.0% due to rou
nding.
*The1982
survey did not brea
k down the "oth
er" race category;
it also did not
include Hispanic (much of the
Hispan
ic popul
ation was
includec
under "white")
because Hi
spanic is an ethnic
groupin
g, not a
race grou
ping.
+The1982
survey did not inch
jde the category
"other d
ance."
1 8 I American Participation in Opera and Musical Theater — 1 992
FIGURE 3. Opera and Musical Theater Attendance
by Race, 1982 and 1992
1982 1992
General population
1982 1992 1982 1992
Musical theater attendees Opera attendees
VZ\ white rj-nO black ggg other
Note: Not all percentages add up to 100% due to rounding.
Arts Participation Through Attendance I 19
who attend opera is larger than their proportion in the population as a whole
(3.7 percent versus 2.6 percent).
The 1992 audience for musical theater performances was 15.4 percent
nonwhite. Blacks accounted for 9.2 percent, Kispanics for 4.2 percent, Asians
for 1.6 percent, and Native Americans for 0.4 percent.
Racial groups seem to have distinct preferences among the selected arts
activities. Asians make up larger segments of the opera and ballet audiences than
they do for the other arts; blacks are more likely to attend jazz than the other
arts activities; Native Americans appear to prefer "other dance" performances
and art museums; and Hispanics favor "other dance."
Age
Data for both 1982 and 1992 show that opera attendees tend to cluster in
the middle-age categories, from 25 to 54 years old. As Table 8 indicates, this
segment accounted for 58.3 percent of the audience in 1982 and 59.7 percent
in 1992. In 1982, the opera audience was older than the audiences for every
other selected arts activity, having a higher percentage in each age category from
45 years up. This distinguishing characteristic of the opera audience was less
pronounced in 1992. In contrast, older attendees (those 45 years old or older)
of classical music performances increased dramatically, from 40.9 percent in
1982 to 49.6 percent in 1992. (See Figure 4.)
Though seniors, those aged 75 and older, account for 6.6 percent of the
adult population, few attend the surveyed art forms. Those who do attend make
up a larger share of the audience for opera than for any other selected arts
activity except classical music (3.5 percent versus 4.5 percent). In both 1982
and 1992, persons aged 18 to 24 and 25 to 34 accounted for a smaller
proportion of the audience for opera than for any other surveyed art form
except classical music. However, the proportion of the opera audience in these
age groups remained more consistent between 1982 and 1992. In other words,
opera appears to be drawing younger persons to its ranks at the same rate as it
did in 1982.
The musical theater audience looks like the general population in terms of
age. The bulk of the audience is 25 to 54 years old (61.2 percent in 1982 and
62.7 percent in 1992). Musical theater lost some of its younger audience
between 1982 and 1992. Audience share decreased by 3.7 percentage points
among those aged 18 to 24 and 4.1 percentage points among those aged 25 to
34. This was offset by an increase in audience share among older attendees, in
particular by an increase of 3.6 percentage points among those 45 to 54 years
of age.
20 I American Participation in Opera and Musical Theater — 1992
TABLE 8
I. Attendance at Selected Arts Activities
1982 and 1992 (%)
by Age,
U.S. Adult Population
Age
Group
Distribution
18-24
25-34
35-44
45-54
55-64
65-74
75+
Total
1982 164,575,000
1992 185,838,000
17.4
13.0
23.5
22.8
16.7
21.4
13.5
14.9
13.4
11.4
9.7
9.9
5.9
6.6
100.1
100,0
Arts Activity
Attendance
Rate Among
U.S. Adult
Population
Opera
1982
1992
3.0
3.3
11.2
10.7
20.4
19.0
20.2
21.5
17.7
19.2
15.5
14.0
11.2
12.1
3.8
3.5
100.0
100.0
Musicals
1982
1992
18.6
17.4
15.5
11.8
25.0
20.9
20.7
22.7
15.5
19.1
13.4
12.6
7.2
9.5
2.8
3.3
100.1
99.9
Classical
music
1982
1992
13.0
12.5
14.7
10.7
23.5
18.5
21.0
21.2
15.5
20.0
13.2
14.0
9.0
11.1
3.2
4.5
100.1
100.0
jazz
1982
1992
9.6
10.6
31.8
13.8
35.2
28.9
13.4
25.7
9.8
15.2
6.8
8.9
2.0
6.0
0.8
1.4
99.8
99.9
Plays
1982
1992
11.9
13.5
15.7
12.7
23.9
20.6
21.5
22.0
15.3
19.0
12.9
12.6
8.1
9.7
2.6
3.3
100.0
99.9
Ballet
1982
1992
4.2
4.7
16.3
14.8
27.0
23.6
23.5
22.5
12.1
16.0
11.9
11.7
6.9
8.6
2.2
2.7
99.9
99.9
Other
dance*
1982
1992
7.1
14.4
22.8
23.7
14.6
11.9
9.0
3.6
100.0
Art
museums
1982
1992
22.1
26.7
17.9
14.0
28.2
25.1
20.4
23.8
13.5
16.4
11.4
10.6
6.4
7.5
2.2
2.6
100.0
100.0
Note: Not <
*The1982
all percentages
survey did not
add up to 1 00.0% due to rounding,
include the category "other dance."
Income
Comparing income differences among arts attendees between 1982 and
1992 is problematic. An adequate interpretation of differences between the
years would have to take into account inflation, which between 1982 and 1992
was 45.4 percent, according to the Consumer Price Index (CPI). The income
categories in the questionnaire are not adjusted for inflation. However, a rough
Arts Participation Through Attendance I 21
FIGURE 4. Opera and Musical Theater Attendance
by Age, 1 982 and 1 992
200
180.
160.
140.
120.
J
ID
(0
Z /
O 100.0-
1982 1992
General population
29,7%
14.0%
1982 1992 1982 1992
Musical theater attendees Opera attendees
m
5S3
18
55
•34
■64
EZ23
35-44
65 +
UD
45
54
Note: Not all percentages add up to 100% due to rounding.
22 I American Participation in Opera and Musical Theater — 1992
comparison of the highest income brackets in both years can be made. The
highest annual income bracket in the 1982 questionnaire was $50,000 and
over. Those in that category can be roughly compared with those making
$75,000 and over in 1992. (Adjusted for inflation, those making $50,000 and
over in 1982 would have been comparable to those making $72,700 and over
in 1992.)
Comparing the data for 1982 and 1992 in every selected art form, as shown
in Table 9, the percentage of the audience in the highest income bracket
TABLE 9.
Attendance at Selected Arts Activities
1982 and 1992 (%)
by Income,
U.S. Adult Population
1
Income Category Distribution
Total
So-
il 4,999
$15,000-
24,999
$25,000-
$49,000
$50,000-
$74,999
$75,000
and over
1982 164,575,000
1992 185,838,000
41.7
25.2
28.0
19.3
25.4
36.6
5.0
11.9
*
7.0
100.1
100.0
Arts Activity
Attendance
Rate Amonj
U.S. Adult
Population
■
Opera
1982
1992
3.0
3.3
26.4
12.8
20.4
11.3
35.9
29.2
17.3
20.3
26.4
100.0
100.0
Musicals
1982
1992
18.6
17.4
24.4
10.9
25.8
15.7
38.2
37.1
11.7
19.2
17.1
100.1
100.0
Classical
music
1982
1992
13.0
12.5
28.2
11.3
24.2
16.5
35.9
37.2
11.7
18.9
16.2
100.0
100.1
Jazz
1982
1992
9.6
10.6
33.8
12.4
26.6
16.2
30.9
39.2
8.6
17.5
14.6
99.9
99.9
Plays
1982
1992
11.9
13.5
24.2
12.6
24.1
15.7
37.8
37.4
13.8
17.5
16.7
99.9
99.9
Ballet
1982
1992
4.2
4.7
26.4
12.3
24.7
12.1
36.0
36.9
12.9
20.0
18.6
100.0
99.9
Other
dance
1982
1992
7.1
16.2
18.5
41.3
14.7
9.4
100.1
Art
museums
1982
1992
22.1
26.7
27.7
12.4
26.4
16.9
35.2
39.3
10.7
18.2
13.2
100.0
100.0
Note: Not all percentages add up to 100.0% due to rounding.
*The 1982 survey's highest income category was $50,000 and over
The 1982 survey did not include the category "other dance."
Arts Participation Through Attendance I 23
increases. In other words, audiences in 1992 were wealthier. In 1982, about 17
percent of the opera audience were in the wealthiest income category; in 1992,
this segment had grown to over 26 percent. Unfortunately, because of the
comparison problems mentioned above, it is impossible to say whether the shift
came from the lower- or middle-income groups.
Opera attendees are wealthier than the other selected arts attendees. In 1992
more were in the $75,000 and above category (26.4 percent). Opera also had
the highest proportion of individuals in the $50,000 to $74,999 income
category (20.3 percent). However, as is the case with the other surveyed art
forms, the largest proportion of the opera audience still falls in the $25,000 to
$49,999 bracket (29.2 percent). Because of the inability to adjust for inflation,
no bar chart is presented for income.
Just over 37 percent of musical theater attendees fall in the $25,000 to
$49,999 income bracket. Musicals rank third after opera and ballet in the
proportion of attendees in the $50,000 and $75,000 income brackets (19.2
percent and 17.1 percent, respectively). Compared with the other arts audi-
ences, the musical theater audience includes a smaller proportion of attendees
in the lowest income bracket of $14,999 and below (10.9 percent).
Residency
The selected arts attendees in general are more likely to reside in the suburbs
than in cities or rural areas, although the audience share made up of city dwellers
rose between 1982 and 1992. Table 10 shows that around 45 to 50 percent of
the selected arts attendees reside in the suburbs, and about 35 to 40 percent live
in cities. The share of the arts audience coming from rural areas decreased
dramatically between 1982 and 1992, while the share made up of suburban
residents increased somewhat, and the share made up of city dwellers increased
even more.
In 1992 about 9 percent more opera attendees resided in the suburbs than
in the cities. Yet, city dwellers' share of the audience rose by 5.4 percentage
points between 1982 and 1992, suburbanites' share decreased slightly (by only
0.2 percentage points), and rural residents' share fell by 5.2 percentage points.
This reflects the decline in the rural population in general.
In 1992, almost 17 percent more musical theater attendees came from the
suburbs than from the cities. Compared with attendees for the other selected
arts, fewer musical theater attendees are city residents (34.4 percent). Between
1982 and 1992 the proportion who resided in the cities increased by 3.9
percentage points, and in the suburbs by 3.2 percentage points. The proportion
from rural areas decreased by 7.1 percentage points. (See Figure 5.)
24 I American Participation in Opera and Musical Theater — 1992
TABLE 10. Attendance at Selected Arts Activities by Place of
Residence, 1982 and 1992 (%)
Residency Distribution
U.S. Adult Popi
ilation
Central City*
Suburbs*
Rural
Total
1982 164,575,000
1992 185,838,000
26.9
32.6
40.4
45.0
32.8
22.4
100.1
100.0
Arts Activity
Attendance
Rate Among
U.S. Adult
Population
-
Opera
1982
1992
3.0
3.3
35.2
40.6
49.7
49.5
15.1
9.9
100.0
100.0
Musicals
1982
1992
18.6
17.4
30.5
34.4
48.0
51.2
21.5
14.4
100.0
100.0
Classical
music
1982
1992
13.0
12.5
30.4
37.2
44.2
46.7
25.4
16.2
100.0
100.1
Jazz
1982
1992
9.6
10.6
35.5
42.7
44.0
45.2
20.5
12.1
100.0
100.0
Plays
1982
1992
11.9
13.5
32.0
38.4
44.5
47.4
23.4
14.2
99.9
100.0
Ballet
1982
1992
4.2
4.7
35.7
41.7
48.1
49.4
16.2
8.9
100.0
100.0
Other
dance
1982
1992
7.1
34.8
45.1
20.1
100.0
Art
museums
1982
1992
22.1
26.7
31.2
36.1
45.2
47.7
23.6
16.2
100.0
100.0
Note: Not all percentages add up to 1 00.0% due to rounding.
*Central City and Suburbs are the two parts of Standard Metropolitan Statistical Areas
(SMSAs).
The 1982 survey did not include the category "other dance."
Education
Arts attendees are more highly educated than the general population. The
strong relationship between arts attendance and education increased between
1982 and 1992. The proportions of attendees with college degrees and post-
graduate education have increased for all selected arts activities, as shown in
Table 11.
Arts Participation Through Attendance I 25
FIGURE 5. Opera and Musical Theater Attendance
by Place of Residence, 1982 and 1992
200
J
° 100.0-'
1982 1992
General population
1982 1992 1982 1992
Musical theater attendees Opera attendees
Central City (SMSA) ^ Suburb (of SMSA) ^ Rural (not SMSA)
Note: Not all percentages add up to 1 00% due to rounding.
26 I American Participation in Opera and Musical Theater — 1992
TABLE 11
. Attendance at Selected Arts Activities
by
Education, 1982 and 1992 (%)
U.S. Adult Population
r
Education
Category Distribution
Total
Some/
Jo High
School
High
School
Grad
Some
College
College
Grad
Post-
Grad
1982 164,575,000
25.1
37.5
19.5
10.4
7.5
100.0
1992 185,835,000
17.9
37.3
21.0
14.0
9.7
99.9
Attendance
Rate Among
U.S. Adult
Arts Activity
Population
Opera
1982
3.0
4.2
23.9
24.7
22.5
24.9
100.2
1992
3.3
3.9
16.4
21.3
23.8
34.6
100.0
Musicals
1982
18.6
7.0
26.8
27.3
20.9
18.0
100.0
1992
17.4
4.1
25.4
25.8
23.9
20.8
100.0
Classical
1982
13.0
5.6
21.9
26.7
23.5
22.3
100.0
music
1992
12.5
3.5
19.6
23.6
25.7
27.7
100.1
Jazz
1982
9.6
7.3
26.6
30.0
20.7
15.4
100.0
1992
10.6
2.7
19.7
28.2
26.9
22.5
100.0
Plays
1982
11.9
5.5
22.2
26.9
22.6
22.9
100.1
1992
13.5
3.7
21.7
24.9
24.2
25.5
100.0
Ballet
1982
4.2
3.8
21.4
27.6
23.8
23.4
100.0
1992
4.7
- 4.0
17.3
27.1
27.2
24.5
100.1
Other
1982
—
—
—
—
—
—
—
dance*
1992
7.1
6.0
25.2
27.9
19.8
21.1
100.0
Art
1982
22.1
5.3
27.0
27.8
21.0
18.9
100.0
museums
1992
26.7
3.7
23.0
27.3
24.4
21.6
100.0
Note: Notal
percentages add u
p to 1 00.0% due to round
ng.
*The 1 982 survey did not include the category "
other dance."
Opera attendees are the most highly educated of all selected arts attendees.
In 1992, 79.2 percent had at least some college education. They are more likely
than the attendees for all the other selected arts activities to have postgraduate
education (24.9 percent in 1982 and 34.6 percent in 1992). Between 1982 and
1992, the share of the opera audience with postgraduate education increased
9.7 percentage points. The next highest increase among the other selected arts
attendees was among jazz attendees, whose share increased by 7.1 percentage
points. (See Figure 6.)
Musical theater, like all the surveyed arts, attracts an educated audience. In
1992, 70.5 percent had at least some college education. However, musical
Arts Participation Through Attendance I 27
FIGURE 6. Opera and Musical Theater Attendance
by Education, 1982 and 1992
200
J
160.0
1982 1992
General Population
1982 1992 1982 1992
Musical theater attendees Opera attendees
some high V/A high sch grad I I some college
S5 college grad K&A post grad
Note: Not all percentages add up to 1 00% due to rounding.
28 I American Participation in Opera and Musical Theater — 1992
theater appeals to a wide educational range. In 1992, compared with the
audience for the other selected arts activities, the musical theater audience had
the highest percentage of those with only a high school degree (25.4 percent)
and the second highest percentage (4.1 percent) of those with some or no high
school. ("Other dance" had the largest segment of this category, with 6 percent.)
While 20.8 percent of the musical theater attendees had some postgraduate
education, this education group accounted for the lowest proportion among all
the selected arts activities. Between 1982 and 1992, educational levels among
musical theater attendees did not fluctuate significantly.
Table 12 presents data regarding the education of arts attendees' parents.
While the parents of arts attendees are more highly educated than the general
population, arts attendees themselves are significantly better educated than their
parents. In 1992, the majority of their mothers and fathers (over 50 percent for
most selected art forms) had high school diplomas or less. A slight rise in
educational attainment among the parents of all selected arts attendees occurred
between 1982 and 1992.
In 1992, the mothers of opera-goers were among the more distinguished
educationally compared with the mothers of arts attendees in general. More
than 19 percent had a college degree or more. The mothers of ballet-goers are
the most highly educated; almost 24 percent have a college degree or postgradu-
ate education. In comparison, only 8.1 percent of the mothers in the general
population had college degrees or postgraduate education.
Among fathers of selected arts attendees in general, fathers of opera-goers
ranked third in educational accomplishment. The 1992 data show that 27.7
percent of the fathers of opera-goers had a college degree or had done postgradu-
ate work, which placed them behind the fathers of ballet-goers (34.6 percent)
and the fathers of classical music attendees (28.7 percent). In comparison, 1 1.9
percent of fathers in the general population had attained that level of education.
The 1 992 data reveal no particular distinction educationally among mothers
of musical theater attendees compared with the mothers of other selected arts
attendees. Only 1 5 percent had a college degree or more. Similarly, 21.5 percent
of the fathers of musical theater patrons had a college degree or more, which
did not distinguish them from the fathers of other selected arts attendees.
The parents of selected arts attendees value education: they are better
educated than the general public; they show modest gains in educational
achievement between 1982 and 1992; and their offspring are much more
educated than they are or than the general population is. The value parents place
on education appears to be one of the factors that relates to a possible involve-
ment in the arts.
Arts Participation Through Attendance I 29
TABLE 12. Attendance Rates for Selected Arts Activities by
Parents' Education, 1982 and 1992 (%)
Parents'
U.S. Adult
Arts
Groups
Musical Classical
Other
Art
Educational Level
Population
Opera
Theater
Music
Jazz
Plays
Ballet
Dance*
Museums
1982
Mother's education
no/some high school
39.8
33.1
29.5
28.8
27.8
29.1
27.3
—
29.0
high school grad
30.8
28.4
36.0
32.4
40.0
34.7
33.0
—
36.3
some college
7.1
11.3
13.2
15.4
14.0
14.9
14.2
—
14.8
college grad
postgrad
6.7
16.5
14.0
16.0
13.5
15.1
17.7
—
14.1
don't know
15.6
10.8
7.3
7.5
4.7
6.2
7.8
—
5.8
100.0
100.1
100.0
100.1
100.0
100.0
100.0
0.0
100.0
Father's education
no/some high school
41.6
42.0
34.6
33.4
31.7
32.9
28.0
—
32.3
high school grad
21.7
15.8
25.4
24.8
28.5
23.7
23.4
—
26.7
some college
5.7
9.2
8.5
9.6
8.9
10.0
7.6
—
9.3
college grad
postgrad
10.7
22.8
21.6
22.3
21.3
24.9
31.1
—
22.3
don't know
20.4
10.1
9.9
9.9
9.6
8.5
9.8
—
9.4
100.1
99.9
100.0
100.0
100.0
-1992
100.0
99.9
0.0
100.0
Mother's education
no/some high school
31.5
20.2
22.2
22.3
17.0
21.9
21.4
25.8
19.4
high school grad
38.3
38.8
43.2
39.2
45.6
41.8
34.5
38.9
44.2
some college
8.7
17.6
13.8
15.7
15.8
16.2
16.8
15.5
14.6
college grad
6.3
13.5
11.5
13.6
13.2
10.9
18.6
10.4
12.4
postgrad
1.8
6.2
3.5
6.2
3.9
3.6
5.3
5.0
4.3
don't know
13.4
3.8
5.9
3.0
4.4
5.7
3.4
4.3
5.1
100.0
100.1
100.1
100.0
99.9
100.1
100.0
99.9
100.0
Father's education
no/some high school
34.0
20.1
25.7
25.5
25.5
25.8
23.5
27.7
24.3
high school grad
29.2
34.4
32.6
28.8
31.8
30.0
22.9
32.8
31.8
some college
7.1
11.3
10.8
11.1
11.2
10.0
11.5
9.8
11.5
college grad
7.3
11.9
12.5
16.0
13.7
13.7
18.7
13.6
13.3
postgrad
4.6
15.8
9.0
12.7
9.6
9.9
15.9
7.7
10.0
don't know
17.8
6.4
9.4
5.9
8.2
10.6
7.5
8.5
9.2
100.0
99.9
100.0
100.0
100.0
100.0
100.0
100.1
100.1
Note: Not all percentages adc
up to 1 00.0% due to rounc
ling.
*The 1982 survey did not include the categ
ory "other dance."
The 1982 survey did not inc
ude the category "postgrad'
'; those
who were postgrad
would be part of "college grad."
30 I American Participation in Opera and Musical Theater — 1992
Demographic Characteristics of High-Frequency Attendees
The demographic profiles of high-frequency opera attendees reflect those of
opera-goers in general, except larger proportions of the high-frequency attendees
are Asian, older, better educated, and wealthy. Similar to what the data show for
opera attendees in general, the largest proportion of high-frequency opera
attendees are white (81.6 percent). But while Asians account for 3.7 percent of
the general opera audience, they account for 14.5 percent of the high-frequency
audience. Those 55 and older make up 38.7 percent of the high-frequency
audience, compared with 29.6 percent of the opera audience in general. Com-
pared with the general opera audience, a larger proportion of the high-frequency
attendees have a postcollege education (47.7 percent versus 34.6 percent), and
the frequent attendees are even more likely than general opera-goers to be in the
$75,000-and-above income bracket (49.4 percent versus 26.4 percent). It is
noteworthy that almost half of all high-frequency opera-goers have some post-
college education and are in the highest income bracket. (See Table 13.)
The profiles of high-frequency musical theater attendees are strikingly
similar to those of general musical theater attendees, with a couple of exceptions:
compared with general musical theater attendees, a higher proportion of
frequent attendees are over 65 (18.6 percent versus 12.8 percent), and a larger
proportion have incomes over $75,000 (22.8 percent versus 17.1 percent).
Summary
In 1992, the estimated audience for opera was 6.1 million persons, or 3.3
percent of the adult U.S. population. Opera attendance increased by 0.3
percentage points between 1982 and 1992. Opera is the least attended of the
arts covered in the SPPA. Among all opera-goers, 15.2 percent are high-
frequency (three times or more per year) attendees.
In 1992, the estimated audience for musical theater/operetta was 32.3
million persons, or 17.4 percent of the adult U.S. population. While musical
theater attendance decreased by 1.2 percentage points between 1982 and 1992,
musicals remained second only to art museums in popularity among the selected
arts activities. Of all musical theater patrons, 22.4 percent are high-frequency
attendees.
Opera Demographics
Opera, like the other selected art forms, tends to attract more women than
men, but the proportion of men has grown significantly since 1982. Audiences
Arts Participation Through Attendance I 31
TABLE 13.
Demographic Characteristi
cs of Opera and
Musical Theater
Attendees,
1992
U.S. Adult
Opera
Musical Theater
High-
High-
Population
All
frequency*
All
frequency*
Percentage
3.3%
0.5%
17.4%
3.9%
Number (millions)
185.838
6.13
0.93
32.34
7.25
Of the percentage of opera and musical theater attendees, the
percentage br
'eakdown
according to demographic
factors is shown below. For exampl
e, of the 0.5% of the
adult population that atten
ded opera 3
or more times
last year,
42.0% are male and
58.0% are female.
Gender
Male
47.9
45.0
42.0
41.5
40.9
Female
52.1
55.0
58.0
58.5
59.1
Race
White
77.5
84.7
81.6
84.7
85.2
Black
11.2
6.6
2.3
9.2
7.4
Native American
0.5
0.6
0.0
0.4
0.2
Asian
2.6
3.7
14.5
1.6
2.2
Hispanic
8.3
4.4
1.6
4.2
5.0
Age
18-24
13.0
10.7
7.3
11.8
10.5
25-34
22.8
19.0
11.0
20.9
18.9
35-44
21.4
21.5
11.5
22.7
19.7
45-54
14.9
19.2
31.5
19.1
18.4
55-64
11.4
14.0
16.5
12.6
13.8
65-74
9.9
12.1
19.6
9.5
13.3
75+
6.6
3.5
2.6
3.3
5.3
Education
0-some high
school
17.6
3.9
2.3
4.1
5.1
High school j
^rad
37.3
16.4
18.4
25.4
22.8
Some college
21.0
21.3
15.4
25.8
23.3
College grad
14.0
23.8
16.3
23.9
23.9
Postgrad
9.7
34.6
47.7
20.8
24.8
Marital Status
Married
58.8
57.9
61.4
59.3
54.5
Widowed
7.2
6.4
10.1
5.9
8.5
Divorced
8.7
9.4
7.7
9.4
9.2
Separated
2.9
2.1
0.0
2.1
1.5
Never married
22.3
24.1
20.8
23.3
26.3
32 I American Participation in Opera and Musical Theater — 1992
TABLE 13. Demographic Characteristics of Opera and
Musical Theater Attendees, 1 992 (Continued)
U.S. Adult
Opera
Musical Theater
High-
High-
Population
All
frequency*
All
frequency*
Place of residence
Central city/SMSA
32.6
40.6
41.5
34.4
37.3
Suburbs/SMSA
45.0
49.5
53.5
51.2
49.9
Rural/non-SMSA
22.4
9.9
5.0
14.4
12.8
Income
$0-$ 14,999
25.2
12.8
7.7
10.9
11.7
$15,000-$24,999
19.3
11.3
7.6
15.7
15.4
$25,000-$49/999
36.6
29.2
24.2
37.1
32.2
$50,000-$74/999
11.9
20.3
11.1
19.2
17.9
$75,000+
7.0
26.4
49.4
17.1
22.8
Note: Not all percentages add up to 1 00.0% due to rounding.
*High-frequency is defined as three times or more. Because there are fewer than 1
million high-frequency opera attendees, caution should be used in interpreting the
figures.
About 8.4% of those in the survey did not answer the income question; therefore,
caution should be used with these figures.
consist mainly of married white persons, although the audience for opera (along
with ballet) contains a larger proportion of Asians than is the case for the other
selected arts activities. The majority of opera-goers are in their middle years
(from 25 to 45), though opera attracts an older crowd than the other surveyed
art forms. It also attracts a wealthier and more educated group.
Like attendees of most of the other art forms, opera attendees are somewhat
more likely to reside in the suburbs than in cities, though the proportion that
lives in cities has risen since 1982. Opera's elite image is validated by its
command of more educated, wealthier, older individuals; but this set of
demographics does not apply exclusively. The opera audience embraces a wider
group of persons. This is particularly the case among high-frequency attendees.
Finally, the opera audience is perpetuating itself. Combatting the concern
over the graying of the audience for the performing arts, younger persons
attended in about the same proportions in 1992 as they did in 1982.
Arts Participation Through Attendance I 33
Musical Theater Demographics
Musical theater attendees are most likely to be married, female, white,
suburban residents, between the ages of 25 and 54. In 1992, more attendees
came from the 45-to-54-year-old age group than in 1982. Musical theater
patrons have higher incomes than the audiences for all but two of the other
selected arts activites, opera and ballet, though the largest proportion earn
between $25,000 and $49,000. Like the audiences for the other art forms, over
70 percent have had at least some college education, yet they are the least
educated of all the audiences for the selected arts. Fathers of musical theater
attendees are least likely to have postgraduate education, compared with fathers
of the other arts audiences; mothers are second least likely. Compared with the
demographic profiles for the other selected arts, the demographic profile of
musical theater attendees is closest to that of the general population.
Demographics for High-Frequency Attendees
High-frequency opera-goers are even older, better educated, and wealthier
than opera attendees in general. Asians are more drawn to opera in proportion
to their numbers in the general population than are other racial groups. In 1992,
Asians made up 2.6 percent of the adult U.S. population; yet they accounted
for 3.7 percent of the general opera audience and 14.5 percent of the high-
frequency audience.
High-frequency musical theater attendees are similar to attendees in general,
except that a larger proportion are older and wealthier.
Arts Participation
Through Media
Listening to or watching the arts on television, VCRs, radio, and recordings
(compact discs, tapes, and records) represents another way individuals
participate in the arts. Table 14 presents data for arts participation via the media,
compared with live attendance, for 1982 and 1992.
Americans are more likely to participate in all the selected arts activities via
the media than by live attendance. Between 1982 and 1992, overall media
participation increased significantly for all the arts except plays and musicals,
which decreased by 7.8 and 4.8 percentage points, respectively. In both 1982
and 1992 classical music was the most listened to or watched of the selected art
forms, followed by jazz music. Outside of classical music and jazz, the popularity
rankings of selected arts activities via the media changed. Plays dropped over
the decade, and programs on artists and art museums gained in popularity.
Either Americans' artistic tastes changed or arts programming changed some-
what between 1982 and 1992.
Americans are significantly more likely to watch and listen to opera via all
forms of media than to attend live performances. They are most likely to watch
opera on television or VCRs. Between 1982 and 1992, listening to opera on
the radio increased slightly, but rates of participation remained about the same
for other forms of opera media.
Of all the selected arts activities, musicals have the narrowest gap between
rates of participation via the media versus attendance at live performances. In
1992, 17.4 percent of the adult population attended live musicals, while 20.6
percent watched or listened to musicals via the media. Between 1982 and 1992,
overall media participation for musicals decreased 4.8 percentage points. A
decrease occurred in each medium: TV/VCR, recordings, and radio. It is unclear
whether the decrease was due to fewer musicals being available on the media or
musical theater audiences simply preferring live performances.
Table 1 5 shows the demographic characteristics of opera and musical theater
attendees and media participants for 1992. Opera media participants resemble
opera attendees with the following exceptions:
■ Media participants, when compared with attendees of live performances,
command a larger number of seniors aged 65 andolder (21.3 percent versus
15.6 percent).
34
Arts Participation Through Media I 35
TABLE 14,
, Arts Media Participation and Live Attendance,
1982 and 1992 (% of U.S. Adult Population)
Live
Tapes/CDs
Any Performance
Arts Activity
TV/VCR*
Records1 Radio
Medium Attendance
Opera
1982
12.0
7.4 7.1
17.4
3.0
1992
12.1
6.9 8.7
18.1
3.3
Musicals/
1982
20.3
8.4 4.3
25.4
18.6
Operetta
1992
16.9
5.7 3.5
20.6
17.4
Classical
1982
24.7
22.1 19.9
36.9
13.0
music
1992
26.3
23.8 30.8
43.0
12.5
Jazz
1982
18.1
20.2 18.1
31.8
9.6
1992
21.9
20.6 28.2
37.3
10.6
Plays
1982
25.9
NA 3.8
27.1
11.9
1992
18.1
NA 2.8
19.3
13.5
Ballet
1982
16.3
NA NA
16.3
4.2
1992
19.6
NA NA
19.6
4.7
Artists/
1982
22.8
NA NA
22.8
22.1
Art museums
1992
32.2
NA NA
32.2
26.7
All art forms
1982
50.4
34.5 32.5
59.3
39.3
1992
54.5
35.3 43.9
65.1
42.5
Note: Not all
percentages
add up to 100.0% due to rounding.
*"VCR" was not included
in the 1982
survey. Although VCRs
existed, they were not in
widespread use, and the number of tit
es of videotapes was qu
ite limited.
The media products that
can be pure
nased for listening to the arts have chang
;ed
during the 10
-year period.
In 1982 records and cassette tapes
were the mass m
edia
products available. In 1992, tapes and CDs were the products
widely available
■
Includes all
media on wh
ich art form
is available.
Media participants earn less: 34.9 percent of the media participants earned
less than $25,000, compared with 24.1 percent of performance attendees.
A significantly larger number of media participants live in rural areas
compared with performance attendees (16 percent versus 9.9 percent).
Media participants tend to be less educated. Compared with performance
attendees, more of their numbers have a high school education or less (33.6
percent versus 20.3 percent), and fewer have postgraduate education (22.0
percent versus 34.6 percent).
36 I American Participation in Opera and Musical Theater — 1992
TABLE 15.
Demographic Characteristi
cs of Opera and
Musical Theater
Media Participants
and
Performance Attendees,
1992 (%)
Opera
Musicals/Operetta
Watch/
Watch/
Attend
Listen
Attend
Listen
U.S. Adult
Live
on Any
Live
on Any
U.S. Adult Population
Population
Performance
Medium
Performance
Medium
3.3
18.1
17.4
20.6
Gender
.
Male
47.9
45.0
45.3
41.5
44.1
Female
52.1
55.0
54.7
58.5
55.9
Race
White
77.5
84.7
80.9
84.7
82.6
Black
11.2
6.6
9.2
9.2
8.5
Native Amer
can
0.5
0.6
0.5
0.4
0.7
Asian
2.6
3.7
2.7
1.6
2.6
Hispanic
8.3
4.4
6.8
4.2
5.5
Age
18-24
13.0
10.7
7.3
11.8
9.5
25-34
22.8
19.0
16.1
20.9
18.4
35-44
21.4
21.5
19.9
22.7
21.9
45-54
14.9
19.2
19.0
19.1
17.4
55-64
11.4
14.0
16.5
12.6
14.3
65-74
9.9
12.1
13.2
9.5
11.9
75+
6.6
3.5
8.1
3.3
6.6
Education
0-some high
school
17.6
3.9
7.8
4.1
7.3
High school
grad
37.3
16.4
25.8
25.4
27.7
Some college
21.0
21.3
25.7
25.8
24.8
College grad
14.0
23.8
18.8
23.9
20.5
Postgrad
9.7
34.6
22.0
20.8
19.7
Marital status
Married
58.8
57.9
60.5
59.3
60.2
Widowed
7.2
6.4
8.4
5.9
7.4
Divorced
8.7
9.4
9.2
9.4
8.9
Separated
2.9
2.1
2.5
2.1
2.1
Never married
22.3
24.1
19.5
23.3
21.4
Arts Participation Through Media I 37
TABLE 15. Demographic Characteristics of Opera and
Musical Theater Media Participants and
Performance Attendees, 1992 (%) (Continued)
Opera
Musicals/Operetta
Watch/
Watch/
Attend
Listen
Attend
Listen
U.S. Adult
Live
on Any
Live
on Any
Population
Performance
Medium
Performance
Medium
Place of residence
Central city/SMSA
32.6
40.6
36.9
34.4
34.7
Suburbs/SMSA
45.0
49.5
47.1
51.2
46.6
Rural/non-SMSA
22.4
9.9
16.0
14.4
18.7
Income*
$0-$ 14,999
25.2
12.8
17.7
10.9
17.5
$15,000-524,999
19.3
11.3
17.2
15.7
17.7
$25,000-$49,999
36.6
29.2
37.2
37.1
38.0
$50,000-$ 74,999
11.9
20.3
15.2
19.2
15.4
$75,000+
7.0
26.4
12.7
17.1
11.4
Note: Read table down, except first line, which tells what percentage of the
population attends opera, watches/listens, etc. Not all percentages add up to 100.0%
due to rounding.
*About 8.4% of those surveyed did not answer the income question; therefore caution
should be used with these figures.
Media allows for wider participation because of its potential to include
individuals who are unable to attend live performances. It is not surprising to
find that seniors, persons with more limited incomes, and those living in rural
areas where opera is less likely to be performed are more likely to be media
participants. Fondness for opera exceeds what live audience numbers and
demographics indicate.
Media participants for musical theater tend to resemble musical theater
attendees, with the following exceptions:
■ A larger proportion of media participants are 65 and older (18.5 percent
versus 12.8 percent).
■ Media participants are not as wealthy as performance attendees: 26.8
percent have incomes above $50,000, compared with 36.3 percent of
attendees; 17.5 percent have incomes below $15,000, compared with 10.9
percent of attendees.
38 I American Participation in Opera and Musical Theater — 1992
■ Media participants are more likely to be rural residents (1 8.7 percent versus
14.4 percent), and fewer live in the suburbs (46.6 percent versus 51.2
percent).
Like media participants for opera, media participants for musical theater are
somewhat older, less wealthy, and more likely to live in rural areas than are
performance attendees. Media make the arts accessible to a larger audience.
The preceding tables and discussion have described media participation for
opera and musical theater within the context of the general population. Tables
1 6 and 1 7 and the accompanying discussion analyze media participation within
the context of attendees of the selected arts activities.
As expected, people who attend arts performances are significantly more
likely to be media participants in the arts than is the general public. Over 90
percent of the audience for each selected arts activity listen to or watch the arts
on some form of media. In comparison, 65. 1 percent of the general public listen
to or watch via the media. In effect, arts attendees are almost as likely to listen
to or watch the arts as they are to attend live performances.
All attendees of the selected arts activities are more likely to partake of the
arts on television and VCRs than on recordings and radio.
Between 1982 and 1992, media participation in the arts increased among
the general population by 5.8 percentage points. Live attendance increased by
only 2 percentage points (see Table 2).
Among opera attendees, overall media participation remained fairly stable
between 1982 and 1992 (94.7 percent versus 94.9 percent). However, partici-
TABLE 16. Selected Arts Attendees' Participation in
Arts
via Media,
1992 (%)
Any Art on
Any Art on
Any Art or
i Arts on Any
U.S. Adult Population
TV/VCR
Tapes/CDs
Radio
Medium
54.5
35.3
43.9
65.1
Arts Attendees
Opera
89.3
76.4
81.1
94.9
Musicals/Operetta
83.2
64.5
72.9
91.0
Classical music
90.2
74.6
82.7
96.3
Jazz
86.9
79.3
84.8
95.3
Plays
83.4
68.4
74.6
91.7
Ballet
86.8
75.7
81.1
93.9
Other dance
84.7
66.1
72.2
91.3
Art museums
84.2
65.6
73.9
91.6
Arts Participation Through Media I 39
Table 17. Participation in Arts
via Media,
1982 and 1992 (%)
Any Art on
Any Art on
Any Art on
Arts on Anv
U.S. adult population
TV/VCR
Tapes/CDs
Radio
Medium
1982
50.4
34.5
32.5
59.3
1992
54.5
35.3
43.9
65.1
Opera attendees
1982
86.7
70.5
74.2
94.7
1992
89.3
76.4
81.1
94.9
Musical/Operetta attendees
1982
79.4
59.9
54.0
86.8
1992
83.2
64.5
72.9
91.0
pation via each of the media forms increased: 2.6 percentage points for
TV/VCRs, 5.9 for recordings, and 6.9 for radio listening. More opera attendees
are listening to or watching the arts on more than one media form.
Between 1982 and 1992, musical theater attendees experienced an overall
4.2 percentage point increase in media participation: 3.8 for TV/VCRs, 4.6 for
recordings, and a significant 18.9 for radio listening.
An in-depth look at attendees' participation in each of the three individual
forms of media (TV/VCR, recordings, radio) appears in Appendix B.
Summary
Participation in the arts via the media occurs at a higher rate than partici-
pation through attendance at live performances for both the general public and
for arts attendees. In 1992, 42.5 percent of the adult U.S. population attended
at least one live performance of a selected arts activity; 65.1 percent watched or
listened to the arts on the media.
In 1992, significantly more people watched or listened to opera on the
media than attended live opera performances (18.1 percent versus 3 . 3 percent) .
Only 20.6 percent of the populous listened to or watched musical theater/
operetta on the media, compared with 17.4 percent who attended live per-
formances.
As expected, arts attendees are much more likely to also be arts media
participants. Over 90 percent of each of the selected arts audiences were also
media participants. Among opera-goers and musical theater patrons, 94.9
40 I American Participation in Opera and Musical Theater — 1992
percent and 9 1 percent, respectively, also watched or listened to the arts on the
media.
In 1992, compared with the other arts attendees, opera-goers displayed the
highest rate of media participation. All selected arts attendees are most likely to
participate via TV/VCR, followed by listening to recordings/tapes/CDs, and,
last, listening to radio.
Between 1982 and 1992, arts media participation remained stable for opera
and decreased 4.8 percentage points for musical theater/operetta.
While there are differences in types and frequencies of media participation,
as well as changes between 1982 and 1992 for both the general population and
the arts attendees, they are difficult to interpret. Television and radio program-
ming and the production of arts recording products affect media participation.
The decrease in media participation in musicals/operetta between 1982 and
1992 may be due to fewer productions of musical theater available on the
broadcast media. Similarly, few productions of plays are broadcast on the radio.
Supply as well as taste affect media participation rates.
Demographic profiles of opera and musical theater attendees and media
participants are similar. Both groups tend to be dominated by people who are
white, married, middle-aged, wealthy, well educated, and living in the suburbs.
Both groups have more women than men. However, some significant differ-
ences distinguish the groups; notably, media participants are somewhat
younger, less educated, less wealthy, and are more likely to be rural residents
than are performance attendees. This probably reflects the fact that for these
groups, media are more accessible than live performances.
While 65.1 percent of the general public watch or listen to the arts on the
media, over 90 percent of all selected arts attendees are also arts media partici-
pants. The two seem to go in tandem: individuals who attend live performances
are also media participants.
Arts Participation
Through Performance,
Creation, and Study
Other ways in which individuals can participate in the arts are by perform-
ing, creating, and studying the arts. This section looks first at personal
performance and creation, then at studying the arts.
Personal Arts Participation
A plethora of different arts forms — weaving, sewing, photography, writing,
dancing, potting, singing, and so on — present opportunities for involvement in
the arts. The SPPA data looked at 14 arts activities involving personal arts
participation.
Performing or creating art can be done primarily for one's own satisfaction
or for public consumption. Those who perform or create primarily for their
own satisfaction are considered amateurs. Those who produce for public
consumption may also be amateurs, or they may be professionals, for whom the
arts are a livelihood.
Table 18 gives the rank order and percentage of individuals involved in 14
types of amateur arts participation in 1992. The overall rate of amateur arts
participation for the general public is 57.9 percent, significantly higher than the
rate for live attendance (42.5 percent), but lower than the rate for media
participation (65. 1 percent). More than 107 million adult Americans participate
in one of these 14 arts activities.
The category including weaving and sewing is the most popular of all the
categories of amateur arts activities (24.8 percent participation), involving over
46 million adults. This is followed by owning an original piece of art (22.2
percent), which involves more than 41 million adults, and making photo-
graphs/movies/videos (11.7 percent), which involves over 21 million adults.
Relatively few persons dance ballet (0.2 percent), sing opera (1.2 percent), or
play jazz music (1.8 percent). However, the actual numbers of people involved
in these activities is not that small. For instance, over 3 million perform jazz
music, over 2 million sing opera, and about 370,000 dance ballet.
Table 1 9 gives the rank order and percentage of individuals involved in
amateur-professional arts activities in 1992. Amateur-professional activities are
41
42 I American Participation in Opera and Musical Theater — 1992
Table 1 8. Rank Order of Amateur Arts Participation, 1 992
Rank Amateur Art
Percentage of Est. number
Adult Americans (millions)
1 . Weaving/crocheting/quilting/needlepoint/sewing
2. Owning an original piece of art
3. Making photographs/movies/videotapes
4. Painting/drawing/sculpture/printmaking
5. Creative writing (stories/poems/plays)
6. Making pottery/ceramics/jewelry/leather/metal work
7. Dancing modern/folk/tap dance (not ballet)
8. Purchasing/acquiring art during last year
9. Playing classical music
10. Singing operetta/musicals
11. Composing music
12. Performing jazz music
13. Singing opera music
14. Dancing ballet
24.8
46.09
22.2
41.26
11.7
21.74
9.7
18.03
8.6
15.98
8.4
15.61
8.1
15.05
7.2
13.38
4.3
7.99
3.8
7.06
2.1
3.90
1.8
3.35
1.2
2.23
.2
0.37
TABLE 19. Rank Order of Amateur-Professional Arts
Participation, 1 992
Percentage of
Est. number
Rank Amateur-Professional Activity /
\dult Americans
(millions)
1.
Public performance in a chorale/choir/glee club, etc
6.7
12.45
2.
Display of weaving/crocheting/quilting/needlepoint,
etc.
2.4
4.46
3.
Display of painting/drawing/sculpture/printmaking
2.0
3.72
4.
Display of pottery/ceramics/jewelry/leather/metal work
1.7
3.16
5.
Display of photographs/movies/videos
1.7
3.16
6.
Public performance in a play
1.6
2.97
7.
Public performance/rehearsal of other dance
(modern/folk/tap dance)
1.2
2.23
8.
Public performance/rehearsal of classical music
1.0
1.86
9.
Publication of creative writing (stories/poems/plays)
.9
1.67
10.
Public performance/rehearsal of music composition
.7
1.30
11.
Public performance/rehearsal of jazz music
.7
1.30
12.
Public performance/rehearsal of operetta/musicals
.7
1.30
13.
Public performance/rehearsal of opera music
.3
0.56
14.
Public performance/rehearsal of ballet
.03
0.06
Arts Participation Through Performance, Creation, and Study I 43
a subset of amateur activities. In other words, of those involved in amateur
activities, over 1 in 4 (26.3 percent) publicly display or perform an art. This
equals about 29 million adult Americans.
The largest group of individuals who display or perform their art publicly
are those who perform in choral groups (6.7 percent of the population, or over
12 million adults), followed by those who display weaving and other textile arts
(2.4 percent, or about 4.5 million persons). Very few adults — an estimated
60,000 — perform ballet in public.7
Table 20 shows amateur arts participation among individuals who are
attendees at selected arts activities. Some highlights of the table include the
following:
■ Over 77 percent of the attendees of each selected art were amateur arts
participants, compared with 57.9 percent of the general population.
■ For all eight arts groups, owning an original piece of art ranks first among
the various means of participation, followed by the category that includes
weaving and sewing.
■ Dancing ballet is the least preferred of all amateur arts activities.
■ In general, each arts group is more likely to participate in its respective art
form than are the other groups. Thus, opera-goers are more likely to sing
opera than are other arts attendees; classical music patrons are more likely
to play classical music, and so forth. The two exceptions are musical theater
and art museum attendees.
As indicated in Table 20, 80.7 percent of the 6.1 million opera-goers, or
4.95 million persons, are amateur arts participants. Curiously, visual arts
activities, not musical activities, predominate among opera-goers at the amateur
level: 52.3 percent own an original piece of art; 31.8 percent weave, sew, or do
other related arts; and 20.9 percent have purchased an original piece of art in
the last year. Opera attendees are the most likely of all the selected arts attendees
to own original art, to have recently purchased a piece of art, and to sing opera
or musical theater/operetta music.
The data for musical theater show that 77.3 percent of the 32.3 million
musical theater patrons, or 25 million persons, are amateur arts participants.
Over 40 percent own an original piece of art, and 31.5 percent participate in
such activities as weaving and sewing. Compared with the other seven arts
attendee groups, musical theater attendees are the least likely to be involved in
amateur arts activities. Fewer of their numbers own or have purchased an
original piece of art recently, take photographs, paint, write creatively, or
compose music.
Table 21 presents data regarding amateur-professional arts participation.
44 I American Participation in Opera and Musical Theater — 1992
TABLE 20. Selected Arts Attendees' Participation in
Amateur Arts,
1992 (%)
Participate in
any activity
U.S. Adult
Population
Arts Attendees
Opera
Musical
Theater
Classical
Music
Jazz
Plays
Ballet
Other Art
Dance Museums
57.9
80.7
77.3
83.5
79.7
80.0
82.2
86.6
80.9
Create...
pottery/ceramics/
jewelry/leather/
metal work
8.4
13.5
11.3
11.9
14.6
12.9
9.7
16.7
13.2
weavi ng/crocheti ng/
quilting/
needlepoint/
sewing
24.8
31.8
31.5
34.4
26.2
31.4
35.5
32.2
29.5
photographs/
movies/videotapes
11.7
19.2
17.0
22.9
21.3
19.5
21.0
24.6
21.3
painting/drawing/
sculpture/
printmaking
9.7
14.7
14.7
18.6
16.1
15.5
18.9
21.5
18.0
creative writing
(stories/poems/plays)
8.6
15.7
15.5
21.0
20.6
18.9
22.6
20.0
16.5
Compose music
2.1
3.2
2.9
4.5
6.8
3.3
3.2
6.2
3.7
Own original
pieces of art
22.2
52.3
41.4
49.5
46.6
44.8
49.2
44.5
43.9
Purchase/acquire art
during last year
7.2
20.9
15.8
18.1
18.1
17.6
19.6
18.0
16.4
Perform jazz music*
1.8
7.0
4.4
5.9
9.2
3.9
6.0
5.2
4.0
Play classical music
4.3
12.8
9.6
15.3
9.9
9.4
13.4
11.0
9.3
Sing opera music
1.2
8.1
3.3
5.2
2.5
2.8
5.3
3.5
2.6
Sing operetta/musicals
3.8
13.5
9.1
11.8
8.0
8.5
12.1
12.0
7.3
Dance ballet
0.2
0.5
0.6
0.8
0.3
0.4
2.2
1.0
0.5
Dance other (modern/
folk/tap dance)
8.1
14.2
12.9
12.9
14.0
12.6
14.5
28.6
12.2
Note: Amateur participation has
*Jazz music was the only catego
terms "play" or "sing."
no rehearsal, performance, or public display component.
ry that used the term "perform" rather than the more general
Arts Participation Through Performance, Creation, and Study I 45
TABLE 21. Selected Arts Attendees' Participation in
Amateur-
Professional Arts,
, 1992 (%)
L
P
Public performance/
rehearsal of . . .
I.S. Adult
opulation
Arts Attendees
Opera
Musical
Theater
Classical
Music
Jazz
Plays
Ballet
Other
Dance
Art
Museums
jazz music
0.7
3.7
1.6
2.3
4.4
1.1
2.4
1.6
1.4
classical music
1.0
2.9
2.7
4.6
3.3
2.6
1.7
2.6
2.4
opera music
0.3
2.4
0.7
1.7
0.2
0.4
0.8
1.4
0.5
operetta/musicals
0.7
4.4
1.8
4.1
1.7
2.6
3.0
2.9
1.8
chorale/choir/
glee club/
6.7
13.1
10.3
15.8
10.2
11.0
10.4
11.3
9.4
a play
1.6
5.9
4.2
5.0
3.9
4.9
3.9
5.0
3.1
ballet
0.03
0.5
0.2
0.1
0.0
0.1
0.7
0.3
0.1
other dance
(modern/folk/
tap dance)
1.2
3.1
2.5
2.8
2.3
3.2
2.4
7.8
1.9
Public display of works of . . .
pottery/ceramics/
jewelry/leather/
metal work
1.7
2.6
2.7
3.8
3.6
3.2
2.2
3.8
3.6
weaving/
crocheting/quilting/
needlepoint/
sewing
2.4
3.0
3.3
4.7
2.2
3.2
3.7
3.9
3.3
photographs/movies/
videotapes
1.7
6.9
3.2
4.5
5.7
3.6
3.5
4.4
4.0
painting/drawing/
sculpture/printmaking
2.0
3.4
3.3
4.7
4.2
3.7
3.3
4.2
4.1
Publish creative writing
(stories/poems/plays)
0.9
4.8
1.7
3.0
2.9
1.8
2.0
2.8
1.9
Public performance/
rehearsal of music
composition
0.7
0.9
1.4
1.7
3.1
0.8
0.8
1.9
1.0
Public display/
performance of any art
15.2
31.8
25.4
33.7
30.0
27.4
26.8
33.5
25.1
Note: Amateur-professional participation
component.
includes a rehearsal, performance, or pi
jblic display
46 I American Participation in Opera and Musical Theater — 1992
Among the 57.9 percent of the population who are amateur arts participants,
26.3 percent, or about 29 million individuals, are engaged in public displays or
performances of their art, either as amateur-professionals or professionals.
The data show that over 25 percent of attendees of each of the selected arts
activities are amateur-professional participants of one type or another. For both
the general population and all the selected arts attendees, singing in a chorale
or glee club is the most popular form of public arts activity, involving about 10
percent or more of each of the arts groups and 6.7 percent of the general
population. Except for singing in a group and the public display of textiles
(sewing/weaving, etc.), 2 percent or less of the general population is engaged in
any of the other forms of public arts performances or displays.
Among opera attendees, 31.8 percent, or 1.95 million, are involved in
publicly displaying or performing their art. Amateur-professional activities vary
considerably among arts attendees and do not necessarily coincide with the art
form they attend. For example, while singing is the most popular activity among
all attendees, opera attendees' second choice is displaying photographs, movies,
or videos (6.9 percent); third is acting in a play (5.9 percent); and fourth is
publishing a piece of creative writing (4.8 percent).
Among musical theater attendees, 25.4 percent, or 8.1 million, publicly
display or perform their art. After singing, musical theater attendees' second
choice among amateur-professional activities is acting in a play (4.2 percent),
and third is displaying either sewing/ weaving articles (3.3 percent) or paintings
(3.3 percent).
Demographic Characteristics of Opera and Musical
Theater Attendees Who Are Amateur Arts Participants
Because a high percentage of opera and musical theater attendees (80.7
percent and 77.3 percent, respectively) also participate in one or another
amateur art form, their profiles as a group are very similar to the profiles for all
attendees. What is noteworthy, however, is that different amateur arts activities
individually attract persons with quite different profiles.
Among opera-goers who play an instrument, a high proportion are female
(76.2 percent), young (36 percent are between 18 and 24 years old), and only
about a third are married (33. 1 percent). By contrast, opera-goers who participate
in dance are less likely to be women (60.6 percent), are not concentrated in
younger age groups (22.4 percent are between 18 and 24, and 33.1 percent are
between 65 and 74), and are more likely to be married (47.3 percent). Because
"dance other" is so much larger than "dance ballet," the demographic charac-
teristics reflect the "other" dancers rather than ballet dancers. (See Table 22.)
Arts Participation Through Performance, Creation, and Study I 47
TABLE 22. Demographic Characteristics of Opera Attendees
Who Are Amateur Arts Participants,
1992 (%)
Play
Sing
Create
Compose
Own
Jazz or
Choir/
Dance
Visual
Music or
Original
U.S. Adult
Opera
Classical
Opera/
Act in
Ballet or
Art
Creative
Art
U.S. Adult Population
Population
Attendees
Music
Musicals
a Play
Other
Works
Writing
Works
5.4
9.5
1.6
8.2
40.2
9.8
22.2
Opera Attendees*
3.3
15.3
21.7
5.9
14.7
49.7
16.7
52.3
Of the percentage of opera attenc
ees who played/sang/danced/created th
e various arts (shown
above), the breakdown
according
to demographic factors
is shown below. For example,
of the
1 5.3% of opera attend*
Bes who pi
ay jazz or classical music, 23.8% are male and 76.2% <
are
female.
Gender
Male
47.9
45.0
23.8
30.2
42.4
39.4
32.1
41.4
48.0
Female
52.1
55.0
76.2
69.8
57.6
60.6
67.9
58.6
52.0
Race
White
77.5
84.7
80.2
81.4
75.8
83.8
79.1
86.5
84.9
Black
11.2
6.6
8.3
9.3
24.2
7.3
9.9
9.6
5.1
Native American
0.5
0.6
0.0
0.0
0.0
3.0
0.0
0.0
0.0
Asian
2.6
3.7
8.2
7.6
0.0
3.5
4.2
0.0
3.6
Hispanic
8.3
4.4
3.4
1.7
0.0
2.4
6.8
4.0
6.4
Age
18-24
13.0
10.7
36.0
16.1
18.0
22.4
16.1
17.3
6.7
25-34
22.8
19.0
3.0
4.4
16.9
4.5
15.1
13.3
17.6
35-44
21.4
21.5
18.2
24.7
14.5
20.2
19.1
22.5
18.5
45-54
14.9
19.2
9.7
11.1
20.1
10.8
11.6
16.5
18.7
55-64
11.4
14.0
7.7
16.9
15.3
9.0
16.0
9.4
20.6
65-74
9.9
12.1
23.5
19.9
5.8
33.1
19.3
19.2
17.3
75+
6.6
3.5
1.9
6.9
9.4
0.0
2.7
1.8
0.6
Education
0-some high school
17.6
3.9
0.0
4.6
0.0
4.8
5.7
1.7
1.9
High school grad
37.3
16.4
20.3
29.6
22.4
16.6
20.3
26.9
16.1
Some college
21.0
21.3
22.2
23.2
21.2
18.0
30.6
17.5
19.9
College grad
14.0
23.8
27.6
11.9
18.0
26.7
16.7
21.5
21.9
Postgrad
9.7
34.6
29.9
30.8
38.4
33.8
26.8
32.3
40.1
Marital Status
Married
58.8
57.9
33.1
47.7
25.0
47.3
60.8
51.2
63.8
Widowed
7.2
6.4
10.0
15.3
9.4
3.4
8.4
7.3
5.2
Divorced
8.7
9.4
12.4
14.3
33.0
22.5
8.0
15.5
10.7
Separated
2.9
2.1
5.4
3.9
14.5
0.0
2.6
5.0
3.0
Never married
22.3
24.1
39.0
18.8
18.0
26.9
20.1
21.0
17.3
Place of Residence
Central city/SMSA
32.6
40.6
40.2
31.8
57.7
32.4
37.3
32.8
30.2
Suburbs/SMSA
45.0
49.5
46.0
55.2
42.3
61.0
49.3
59.9
59.3
Rural/non-SMSA
22.4
9.9
13.8
12.9
0.0
6.5
13.5
7.2
10.4
48 I American Participation in Opera and Musical Theater — 1992
TABLE 22. Demographic Characteristics of Opera Attendees
Who Are Amateur Arts Participants, 1992 (%)
(Continued)
U.S. Adult
Population
Opera
Attendees
Play
Jazz or
Classical
Music
Sing
Choir/
Opera/
Musicals
Act in
a Play
Dance
Ballet or
Other
Create
Visual
Art
Works
Compose
Music or
Creative
Writing
Own
Original
Art
Works
t
ncome
$0-$ 14,999
25.2
12.8
32.0
17.0
19.1
11.5
21.6
17.0
11.1
$15,000-$24,999
19.3
11.3
4.0
17.7
10.0
14.2
10.3
4.2
4.0
$25,000-$49,999
36.6
29.2
32.2
36.5
43.8
35.5
29.4
20.3
25.0
$50,000-$74,999
11.9
20.3
10.0
24.0
9.5
19.4
19.2
34.7
28.4
$75,000+
7.0
26.4
21.8
4.7
17.5
19.3
19.4
23.9
31.5
Note: These amateur arts (some in combination) were chosen because the participation rates are
high enough to give reasonable estimates. Not all percentages add up to 1 00.0% due to rounding.
*Because there are relatively few opera attendees in the sample, caution should be used
interpreting the figures in this table.
About 8.4% of those in the survey did not answer the income question; therefore caution should
be used with these figures.
As with opera attendees, different amateur arts attract musical theater
patrons with different demographic profiles. For example, among musical
theater patrons who publicly act in plays, 40.4 percent are married, 45.8 percent
are 34 or younger, and 20.8 percent are black. In contrast, among musical
theater patrons who own original art works, 65 percent are married, over 50
percent are 35 to 54 years old, and over 90 percent are white. (See Table 23.)
Taking Arts Lessons and Classes
Taking classes is yet another way individuals participate in the arts. The
SPPA survey asked questions about lessons and classes taken the previous year
and taken during one's lifetime.
As Table 24 shows, over 22 percent of the attendees for any of the selected
arts activities said they had taken arts lessons or classes within the previous year.
This compares with only 8.6 percent of the general population that had taken
lessons. For both the general population and all the selected arts attendees, the
highest proportions had studied an instrument or had taken voice lessons within
the previous year.
Twenty-six percent of opera attendees, or 1.59 million persons, had taken
arts lessons or classes within the last year. Compared with other arts attendees,
opera and ballet attendees are the second most likely to have taken arts lessons
or classes. (Both groups record a rate of 26 percent. Attendees for performances
Arts Participation Through Performance, Creation, and Study I 49
TABLE 23. Demographic Characteristics of Musical Theater
Attendees Who Are Amateur Arts Participants,
1992 (%)
Play
Sing
Create
Compose
Own
Musical
Jazz or
Choir/
Dance
Visual
Music or
Original
U.S. Adult
Theater
Classical
Opera/
Act in
Ballet or
Art
Creative
Art
U.S. Adult Population
Population
Attendees
Music
Musicals
a Play
Other
Works
Writing
Works
5.4
9.5
1.6
8.2
40.2
9.8
22.2
Musical Theater Attendees
17.4
11.6
17.2
4.2
13.3
51.5
16.9
41.4
Of the percentage of musical theater attendees w
ho played/sang/danced/created the various arts
(shown above), the breakdown according
to demographic factors
is shown below. For example,
of the 1 1 .6% of musical theater
attendees who p
ay jazz or classical music, 33.8% are male and
66.2% are female.
Gender
Male
47.9
41.5
33.8
35.7
48.0
44.6
29.5
43.9
44.2
Female
52.1
58.5
66.2
64.3
52.0
55.4
70.5
56.1
55.8
Race
White
77.5
84.7
80.4
82.9
76.7
82.1
85.9
85.2
90.2
Black
11.2
9.2
12.3
12.8
20.8
8.9
8.8
9.1
6.2
Native American
0.5
0.4
0.0
0.0
0.0
0.6
0.0
0.0
0.0
Asian
2.6
1.6
3.7
2.8
0.0
2.9
1.7
3.8
0.0
Hispanic
8.3
4.2
3.5
1.5
2.5
5.4
3.7
1.9
3.5
Age
18-24
13.0
11.8
23.1
7.5
31.0
18.6
14.6
23.0
6.2
25-34
22.8
20.9
12.8
22.6
14.8
22.1
20.1
19.8
17.7
35-44
21.4
22.7
23.6
25.9
27.6
18.7
23.7
18.3
26.8
45-54
14.9
19.1
21.1
21.7
13.6
12.0
18.8
20.6
24.3
55-64
11.4
12.6
11.3
12.5
5.7
11.8
11.1
6.3
12.2
65-74
9.9
9.5
6.0
8.1
2.5
12.3
7.7
8.0
9.2
75+
6.6
3.3
2.2
1.8
4.8
4.5
4.0
3.9
3.6
Education
0-some high school
17.6
4.1
0.6
1.4
1.3
1.8
3.2
1.4
2.5
High school grad
37.3
25.4
20.9
25.9
27.0
26.7
25.5
21.4
18.8
Some college
21.0
25.8
19.4
27.4
28.0
28.6
28.3
29.0
27.4
College grad
14.0
23.9
35.3
23.2
22.3
24.2
25.9
28.4
26.1
Postgrad
9.7
20.8
23.7
22.1
21.4
18.7
17.1
19.8
25.2
Marital Status
Married
58.8
59.3
47.1
61.9
40.4
55.8
58.4
48.6
65.0
Widowed
7.2
5.9
5.0
7.3
4.8
5.2
5.4
3.2
4.1
Divorced
8.7
9.4
11.1
10.2
3.3
9.4
10.7
13.0
12.4
Separated
2.9
2.1
4.1
2.4
3.7
3.8
2.0
3.8
1.8
Never married
22.3
23.3
32.7
18.2
47.7
25.9
23.6
31.5
16.8
Place of residence
Central city/SMSA
32.6
34.4
40.6
34.7
47.6
32.0
36.2
39.5
32.8
Suburbs/SMSA
45.0
51.2
43.0
47.4
41.8
50.9
47.1
46.5
52.2
Rural/non-SMSA
22.4
14.4
16.4
17.9
10.6
17.0
16.6
13.9
15.0
50 I American Participation in Opera and Musical Theater — 1992
TABLE 23. Demographic Characteristics of Musical Theater
Attendees Who Are Amateur Arts Participants,
1992 (%) (Continued)
U.S. Adult
Population
Musical
Theater
Attendees
Play
Jazz or
Classical
Music
Sing
Choir/
Opera/
Musicals
Act in
a Play
Dance
Ballet or
Other
Create
Visual
Art
Works
Compose
Music or
Creative
Writing
Own
Original
Art
Works
Income*
$0-$ 14,999
25.2
10.9
13.6
12.3
10.4
16.8
13.0
14.8
7.9
$15,000-$24,999
19.3
15.7
18.0
10.5
15.6
16.7
15.8
20.1
11.6
$25,000-$49,999
36.6
37.1
36.1
43.9
41.8
31.4
38.2
34.9
33.8
$50,000-$ 74,999
11.9
19.2
16.8
19.7
14.4
15.0
15.4
16.1
21.5
$75,000+
7.0
17.1
15.5
13.6
17.8
20.0
17.7
14.0
25.1
Note: These amateur arts (some in combination) were chosen because the participation rates are
high enough to give reasonable estimates. Not all percentages add up to 1 00.0% due to rounding.
*About 8.4% of those in the survey did not answer the income question; therefore caution should
be used with these figures.
of "other dance" rank first, with a rate of 29.3 percent.) Among opera attendees,
music is the most frequented type of lesson or class (8.2 percent), followed by
dance other than ballet (6.9 percent), then creative writing (6 percent). Curi-
ously, only 2.8 percent took music appreciation lessons. Compared with the
other arts attendees, opera attendees are most likely to take music lessons and
least likely to take visual arts lessons and art appreciation or art history.
Twenty-four percent of musical theater attendees, or 1.1 million individu-
als, took arts lessons or classes during the previous year. Music is the most
popular type of lesson or class (5.3 percent), followed by dancing other than
ballet (5 percent) and creative writing (4.5 percent).
People have long questioned whether and to what degree arts socialization
affects adult attendance. Tables 25 and 26 look at the relationship between arts
lessons and attendance among patrons of musical theater and opera.
Music is the reigning art form when it comes to lessons and classes. Almost
twice as many persons take music lessons as take lessons in any other arts. Not
unexpectedly, opera and musical theater attendees are more likely than the
general public to have had arts lessons at every stage of their lives. The rank
order of lessons taken by the general population and by opera and musical
theater attendees is very similar:
1 . music or voice lessons
2. art appreciation
3. music appreciation
Arts Participation Through Performance, Creation, and Study I 51
TABLE 24. Arts Lessons/Cl
asses
Taken Du
ring Previous Year,
1992 (%)
During the last year,
took classes/lessons in
U.S. Adult
Population
Arts Attendees
Opera
Musical
Theater
Classical
Music
Jazz
Plays
Ballet
Other
Dance
Art
Museums
..
music (either voice
training or an
instrument)
2.0
8.2
5.3
7.2
7.3
5.9
6.0
7.4
5.0
acting or theater
0.4
2.0
1.7
1.8
2.5
2.6
2.7
2.4
1.1
ballet
0.1
1.4
0.3
0.7
0.2
0.3
2.0
0.7
0.3
other dance (tap,
modern, folk, etc.)
1.4
6.9
5.0
5.0
4.8
3.6
5.5
9.0
3.7
visual arts (sculpture,
painting, print making,
photography, film
making, etc.)
1.6
2.0
3.7
4.3
3.8
4.2
4.3
5.2
4.0
creative writing
1.5
6.0
4.5
4.5
4.5
5.2
4.7
4.8
3.3
art appreciation or
art history
1.2
1.7
3.9
4.0
3.1
3.6
5.8
5.9
3.3
music appreciation
0.8
2.8
2.4
3.0
1.4
1.7
3.2
2.4
2.2
any type of lesson/clas
; 8.6
26.0
24.0
24.8
23.3
23.5
26.0
29.3
22.4
4.
5. either
6.
7. acting or theater
8. ballet
visual arts lessons
other dance
l_ creative writing
In addition, the ages at which arts lessons are taken tends to be very similar
for all three groups. Thus, most people take music lessons during their elemen-
tary/high school years (under age 18); they tend to take art and music apprecia-
tion classes during their college years (age 18 to 24); they study ballet primarily
during elementary school years (under age 12); the largest proportion study
acting or theater in high school or college (age 12 to 24); they take lessons or
classes related to visual arts mainly during high school/college years (age 12 to
24) and after age 25; they learn "other dance" throughout life; and they take
52 I American Participation in Opera and Musical Theater — 1992
TABLE 25. Age at Which Adult
Population and Opera
and
Musical Theater Attendees Took Arts
Lessons/CI
asses, 1992 (%)
U.S. Adult
Opera
Musical Theater
Attendance %
Population
Attendees
Attendees
3.3
17.4
Type of Lesson and Age When Taken
%
of Attendees
%
of Attendees
Music (either voice training
or an instrument)
39.6
65.3
60.8
Under 12
20.0
38.3
33.6
12-17
24.5
40.9
37.0
18-24
6.3
20.6
12.6
25 or older
4.2
10.4
9.2
Acting or theater
7.4
19.5
15.4
Under 12
0.9
1.5
2.2
12-17
4.8
11.2
9.2
18-24
2.5
10.0
6.8
25 or older
0.8
1.0
2.3
Ballet
7.0
13.3
14.5
Under 12
5.3
11.2
10.9
12-17
2.0
3.7
3.9
18-24
' 1.1
2.0
2.8
25 or older
0.4
1.2
0.9
Other dance (tap, modern,
folk, etc.)
15.8
28.6
30.6
Under 12
5.6
7.4
10.6
12-17
5.3
10.2
9.5
18-24
3.7
8.1
8.8
25 or older
4.4
9.0
10.3
Visual arts (sculpture,
painting, printmaking,
photography, film making,
etc.)
17.6
30.3
32.5
Under 12
2.1
2.6
3.5
12-17
8.8
10.0
14.4
18-24
7.0
13.2
14.4
25 or older
4.9
12.0
10.6
Arts Participation Through Performance, Creation, and Study I 53
TABLE 25.
Age at Which Adult Population and Opera
Musical Theater Attendees Took Arts
and
Lessons/Classes, 1992 (%)
(Continued)
Creative writing
U.S. Adult
Population
Opera
Attendees
Musical Theater
Attendees
15.6
33.4
30.8
Under 12
0.6
0.8
1.1
12-17
6.0
13.1
11.0
18-24
8.7
17.2
17.9
25 or older
3.1
10.0
7.8
Art appreciation or
art history
Under 12
22.9
0.7
49.6
1.4
38.7
0.7
12-17
6.3
9.3
8.4
18-24
14.8
34.5
27.6
25 or older
3.3
10.2
0.7
Music appreciation
Under 12
18.1
1.2
37.6
2.8
33.4
2.0
12-17
7.3
12.7
10.8
18-24
9.9
23.2
20.9
25 or older
1.9
7.3
4.4
Note: The four age categories are not mutually excl
usive; they will add
up
> to more
than the percentage i
n the heading.
TABLE 26. Percentages of Adult Population and Selected
Arts Attendees Who Have Ever Taken Arts
Lessons/Classes, 1 992
Group
Percentage
U.S. adult population
57.4
Opera attendees
86.6
Musical theater attendees
82.2
Classical music attendees
85.2
Jazz attendees
84.0
Play attendees
84.2
Ballet attendees
88.9
Other dance attendees
86.5
Art museum attendees
84.0
54 I American Participation in Opera and Musical Theater — 1992
creative writing classes primarily during high school and college years (age 12
to 24). The congruence between the data for the general population and for
opera and musical theater attendees suggests that a set of social norms guides
whether and when a person is introduced to an artistic discipline.
Of all the various lessons and classes available, opera attendees are most likely
to have studied music at some time in their life (65.3 percent), followed by art
appreciation (49.6 percent) and music appreciation (37.6 percent). Among
those who studied music, 79.2 percent took music lessons and 15.5 percent had
music appreciation classes before they were 18. Music clearly plays an important
part in the life of opera attendees. They tend to be introduced to music at an
early age and stay connected either by attending live performances, playing a
musical instrument, or taking voice lessons.
Choosing from the array of possibilities, musical theater attendees are most
likely to have taken music lessons (60.8 percent), then art and music apprecia-
tion (38.7 percent and 33.4 percent, respectively). Over 70 percent of those
who took music lessons did so during their elementary or high school years;
31.7 percent took music appreciation classes during high school or college.
Over 80 percent of all selected arts attendees have taken a lesson or class in
the arts at some point. This compares with less than 60 percent of the general
adult population, suggesting a relationship between attendance at the live arts
and classes or lessons taken. A table of 1982 data on lessons ever taken can be
found in Appendix C.
Summary
Amateur arts attract a larger proportion of the American population than
live attendance at the selected arts activities (57.9 percent versus 42.5 percent),
but a smaller proportion than media participation (65.1 percent). Only 15.2
percent of the general public are also engaged as amateur-professional arts
participants.
Of the many amateur arts included in the survey, opera singing attracts the
second-smallest number: only 1.2 percent, or about 370,000 adults. (The
smallest percentage, 0.2 percent, dance ballet.) In comparison, 3.8 percent, or
7.06 million adults, are amateur musical theater and operetta singers.
As expected, selected arts attendees are more likely than the general popu-
lation to engage in "hands-on" arts activities: 80.7 percent of opera attendees
and 77.3 percent of all musical theater attendees are also amateur arts partici-
pants. The data show that 31.8 percent of the amateur opera participants and
25.4 percent of the musical theater amateurs are amateur-professionals.
Arts Participation Through Performance, Creation, and Study I 55
Choosing among the many amateur arts activities included in the survey,
8.1 percent of the opera-goers reported they are engaged in amateur opera
singing; 2.4 percent sing as amateur-professionals. Opera-goers prefer visual
amateur arts activities over musical activities.
Musical theater patrons also prefer visual amateur arts activities, especially
weaving/sewing/etc. , and owning original art. Only 9. 1 percent of their number
are engaged in amateur musical theater/operetta singing; 1.8 percent perform
as amateur-professionals.
Because a high proportion of opera and musical theater attendees are
amateur arts participants, their overall demographic profiles tend to be similar.
However, when looking at distinct forms of amateur or amateur-professional
activities, such as painting, acting in a play, performing an instrument, and so
forth, the profiles of those involved differ significantly.
Only 8.6 percent of the population surveyed had taken arts lessons or classes
within the previous year. However, 57.4 percent had taken lessons or classes at
some point in their lifetime. In contrast, more than 22 percent of all the selected
arts attendees had taken arts lessons or classes within the previous year, and over
80 percent had taken them at some point in their lifetime.
About one quarter of the opera attendees and musical theater attendees (26
percent and 24 percent, respectively) had taken arts lessons or classes within the
last year. However, 86.6 percent of opera-goers and 82.2 percent of musical
theater attendees had taken arts classes or lessons during their lifetimes.
Both opera and musical theater attendees are introduced to music early in
their life. The data show that 79.2 percent of all opera attendees and 70.6 percent
of musical theater attendees who took music or voice lessons did so before age
18. Clearly, early exposure to music has some bearing on an adult commitment
to a musical art form.
Leisure Activities -
Artistic and Other
Involvement in Other Arts and Cultural Activities
We have addressed performance attendance, media involvement, personal
creation and performance, and attending arts classes as ways in which Americans
can be involved in the arts. The 1992 SPPA survey included five additional
activities that individuals could engage in: going to art fairs, historical parks,
and movies; and reading and listening to literature.
As indicated in Table 27, the general population prefers going to movies
and reading literature to attending any of the eight selected arts activities. As
expected, arts attendees are significantly more likely to be involved in the five
indicated activities than is the general population. This is particularly the case
with going to movies and reading literature. About 80 percent of each attendee
group enjoy each activity.
Opera and musical theater attendees do not vary much from the other arts
attendees in their involvement in the above activities. The percentage of selected
arts attendees who go to movies ranges from 79 to 84.5; the percentage who
read literature ranges from 78.5 to 83.5; the percentage who go to art fairs ranges
TABLE 27. Participation in
Other Arts and Cultural Activities,
1992 (%)
Live attendance at a
benchmark art
U.S. Adult
Population
Selected Arts Attendees
Opera
Musical
Theater
Classical
Music
Jazz
Plays
Ballet
Other
Dance
Art
Museums
42.5
100.0
100.0
100.0
100.0
100.0
100.0
100.0
100.0
Art fairs
40.7
71.1
71.2
72.7
72.2
71.1
71.8
74.9
72.9
Historical parks
34.5
67.1
64.3
68.2
65.8
67.0
68.5
65.1
68.6
Movies
59.0
82.7
82.0
80.6
84.5
84.0
82.0
79.0
81.4
Reading literature
54.2
82.5
78.5
82.6
78.9
81.9
83.5
79.2
80.0
Listening to literature
12.5
33.8
26.3
31.9
30.4
29.1
29.7
31.5
27.4
Note: Read table down. In other words, <
:>f those
who attend opera, 71.1% also
attend art fairs.
56
Leisure Activities — Artistic and Other 57
from 71 . 1 to 74.9; and the percentage who frequent historical parks ranges from
64.3 to 68.6. Listening to literature is not as popular, drawing only 12.5 percent
of the general population and 26.3 to 33.8 percent of selected arts attendees.
Comparing Types of Arts Participation
Table 28 compares the four dimensions of arts participation that we have
looked at separately in earlier sections of this monograph. As the data illustrate,
the arts in America are a vital core of our society. For example, 65.1 percent of
the population watch or listen to the arts on the media; 57.9 percent are engaged
in artistic performance or creation, and 15.2 percent perform or display their
work publicly; 42.5 percent attend one of the selected arts activities at least once
a year; and 8.6 percent have taken a class in the arts within the last year. In all,
over 150 million adults in the United States participated in the arts in 1992.
TABLE 28. Adult Population's Participation in Any Selected
Arts Activities, Opera Activities, and Musical
Theater Activities, 1 992
Any
Selected
Musical
Art Activities
Opera
Activities
Est. number
Theater
Activities
Est. number
Est. number
Kinds of Participation
Rate (%)
(millions)
Rate (%)
(millions)
Rate (%)
(millions)
Attendance at
live arts event
42.5
78.98
3.3
6.13
17.4
32.34
Media
65.1
120.98
18.1
33.64
20.6
38.28
Personal arts
participation
Amateur
57.9
107.60
1.2
2.23
3.8
7.06
Amateur-Professional
15.2
28.25
0.3
0.56
0.7
1.30
Arts classes
during last year
8.6
15.98
NA*
NA*
Any arts participation 80.8 150.16 18.7 34.75 30.8 57.24
*Questions about opera and musical theater lessons were not asked; the closest
question asked whether the respondent had taken music lessons. While we cannot
discern from the survey how many individuals specifically took opera or musical
theater/operetta lessons as adults, the number would be small, as few persons take
adult arts lessons.
58 I American Participation in Opera and Musical Theater — 1992
While only 3.3 percent of the population attend opera, 18.1 percent listen
to or watch opera via the media. Only 1 .2 percent of the population sing opera
professionally or for personal pleasure. Considering all of the dimensions of
opera participation, 18.7 percent of the adult U.S. population (34.7 million
persons) participate in operatic activities.
By contrast, 17.4 percent of the population attend musical theater, 20.6
percent listen to musicals/operettas on the media, and 3.8 percent sing musi-
cals/operettas. Thus, about 30.8 percent (57.2 million persons) participate in
musical theater/operetta in one form or another.
Looking at all the types of arts participation included in the SPPA survey,
we see that both the general population and the attendees of selected arts
activities participate extensively. However, arts attendees, as expected, are
significantly more involved in all aspects of arts participation. (See Table 29.)
Among the general population, over half watch or listen to the arts via some
form of media (65.1 percent), go to movies (59 percent), perform or create art
(57.9 percent), and read literature (54.2 percent); 42.5 percent attend live arts
events; and 40.7 percent go to art fairs. A smaller proportion visit historical
parks (34.5 percent), perform or display their art publicly (15.2 percent), listen
to literature (12.5 percent), and take arts classes (8.6 percent).
For all the selected arts attendees, media commands the largest proportion
of participants (91 to 96.3 percent), followed by attending movies (79 to 84.5
percent), reading literature (78.5 to 83.5 percent), and involvement in any
amateur arts (77.3 to 86.6 percent).
Among opera attendees, 94.9 percent participate in the arts via the media,
82.7 percent attend movies, 82.5 percent read literature, and 80.7 percent
participate in amateur arts activities. While opera attendees participate in other
arts activities at lower rates, these rates are still substantially higher than those
for the general population. For example, 26 percent of opera-goers take arts
classes, compared with 8.6 percent of the general population.
Compared with the other selected arts attendees, musical theater attendees
have either the lowest or next to lowest proportions for allot the activities except
two: they are the most likely to participate in a public arts performance (32. 1
percent) and rank fifth out of the eight arts groups in taking adult arts classes
(24 percent). Thus, while they are more akin to other arts attendees than to the
general population in their involvement in the arts, musical theater attendees
are the closest of all the arts groups to the general population.
Involvement in Nonartistic Leisure Activities
Arts participation of any kind can be considered a leisure activity (excluding
those who are arts professionals), representing a choice among other leisure
Leisure Activities — Artistic and Other I 59
TABLE 29. Comparison of Types of Arts Participation,
1992 (%)
Selected Arts Attendees
U.S. Adult
Population
Musical Classical Other Art
Opera Theater Music Jazz Plays Ballet Dance Museums
Attendance at a live
selected art event
42.5
Art fairs
40.7
Historical parks
34.5
Movies
59.0
Reading literature
54.2
Listening to literature
12.5
Any media arts
participation (TV,
radio, CDs, etc.)
65.1
100.0 100.0 100.0 100.0 100.0 100.0 100.0 100.0
71.1 71.2 72.7 72.2 71.1 71.8 74.9 72.9
67.1 64.3 68.2 65.8 67.0 68.5 65.1 68.6
82.7 82.0 80.6 84.5 84.0 82.0 79.0 81.4
82.5 78.5 82.6 78.9 81.9 83.5 79.2 80.0
33.8 26.3 31.9 30.4 29.1 29.7 31.5 27.4
Watch arts on TV/VCR 54.5
Listen to arts on radio 43.9
Listen to arts on
CDs/tapes/records
35.3
Any amateur arts
involvement
57.9
Participate in
visual arts
49.1
Write or compose
9.8
Participate in
performing arts
19.8
Any amateur-
professional
involvement
15.2
Amateur-professional
participation in
visual arts
6.3
Writing or music
composition published
1.6
Amateur-professional
participation in
performing arts
9.4
Adult art classes
8.6
94.9 91.0 96.3 95.3 91.7 93.9 91 ,3 91 .6
89.3 83.2 90.2 86.9 83.4 86.8 84.7 84.2
81.1 72.9 82.7 84.8 74.6 81.1 72.2 73.9
76.4 64.5 74.6 79.3 68.4 75.7 66.1 65.6
80.7 77.3 83.5 79.7 80.0 82.2 86.6 80.9
72.5 68.0 75.4 68.9 71.5 72.9 74.2 72.4
16.7 16.9 23.1 24.2 20.4 23.4 22.4 18.6
37.1 34.5 40.8 37.3 34.2 40.8 50.2 31.6
31.8 25,4 33.7 30.0 27.4 26.8 33.5 25.1
12.2 10.1 13.6 12.4 10.4 11.2 13.1 11.6
57 2.9 4.4 5.7 2.6 2.4 4.7 2.8
20.9 32.1 29.6 22.2 26.0 8.4 14.8 14.6
26.0 24.0 24.8 23.3 23.5 26.0 29.3 22.4
60 I American Participation in Opera and Musical Theater — 1992
activities. Thus, it is instructive to see how arts attendees are involved in
non-artistic/cultural activities, and how their participation in arts activities
compares with their participation in other leisure activities. Table 30 presents
data related to involvement in non-artistic/ cultural activities.
Individuals who attend the selected arts activities are more likely than the
general population to engage in non-artistic/cultural activities. Among the
general population, exercise attracts the largest proportion (59.7 percent),
followed by gardening (54.7 percent) and going to amusement parks (50.2
percent). The lowest ranking activities are outdoor activities (34.1 percent) and
charitable activities (32.6 percent). In comparison, selected arts attendees
participate in all of these non-artistic/cultural activities at higher rates.
Like the general population, all the selected arts attendees rank exercising
first as their activity of choice, participating at rates ranging from 78.4 to 81.6
percent. With a participation rate ranging from 48.1 to 50.4 percent, outdoor
activities place last for all arts groups except "other dance" and art museum
attendees, for whom charity work ranks lowest.
Among opera attendees, the first-choice activity is exercise, with a partici-
pation rate of 80.7 percent, followed by gardening (61.7 percent) and home
improvements (58.9 percent). Outdoor activities are the last choice among
opera attendees, with a participation rate of 48.1 percent.
Looking at musical theater attendees, 80.2 percent exercise, followed by
63.1 percent who garden and 61.8 percent who go to amusement parks.
Outdoor activities rank last, drawing 49.5 percent of the musical theater
attendees.
Table 31 compiles the data for all the artistic and nonartistic activities
covered in the 1 992 SPPA survey and ranks the activities according to their rates
of participation among the general population.
Looking at the 19 artistic and nonartistic activities included in the 1992
SPPA survey, the arts emerge as a vital part of American life. Four arts activities
drew over 50 percent of the general population: arts participation via the media,
movies, creating or performing art, and reading literature. Media participation
in the arts ranked second among all leisure activites (65.1 percent); attending
movies fourth (59 percent); amateur arts participation fifth (57.9 percent);
reading literature seventh (54.2 percent). Attending selected arts activities
ranked tenth (42.5 percent), three positions above attendance at professional
sports events (36.8 percent).
Table 32 ranks the top 18 leisure activities for opera and musical theater
attendees. (Attendance at selected arts activities, which appears in Table 3 1 , does
not appear in this list for the obvious reason that 100 percent of the surveyed
population participates.)
The most notable difference between the rank order of leisure activities by
Leisure Activities — Artistic and Other
61
TABLE 30.
Involvement in Non-Artistic/Cultural Activities by
Adult Population and Selected Arts Attendees,
1992 (%)
Professional
sports events
U.S. Adult
Population
Selected Arts Attendees
Opera
Musical Classical
Theater Music Jazz
Plays
Ballet
Other Art
Dance Museums
36.8
52.1
53.4
56.7 59.4
54.3
53.9
56.9
53.4
Playing sports
38.8
49.4
53.8
55.8 62.4
55.3
53.5
57.7
55.5
Exercising
59.7
80.7
80.2
80.9 81.6
78.4
80.8
78.4
79.9
Outdoor activities
34.1
48.1
49.5
49.3 50.4
48.3
44.9
54.6
52.5
Home improvements
47.6
58.9
59.7
61.1 56.6
55.9
63.3
59.0
60.1
Gardening
54.7
61.7
63.1
68.7 61.3
63.4
63.2
65.4
66.7
Charity
32.6
49.9
52.1
58.7 50.8
54.5
53.4
53.7
50.3
Amusement parks
50.2
53.0
61.8
56.5 65.6
60.7
60.5
66.1
63.4
Note: Read table
activities.
down. For exarr
pie, among those who attend c
»pera, 48.1% en
gage in
outdoor
the general population and by opera and musical theater attendees is that the
latter two tend to participate at significantly higher rates, whether in artistic or
nonartistic activities. However, it is remarkable how similar the rank order of
leisure activities is for all three groups, in particular for opera and musical theater
attendees. Watching or listening to the arts on the media ranks second among
the general population, first for opera attendees, and second for musical theater
attendees.
Among arts activities, going to movies, reading literature, and participating
in amateur arts rank among the top seven activities for all three groups. Going
to art fairs ranks seventh for both opera and musical theater attendees and
eleventh for the general population.
Among nonartistic activities, exercising places among the top six for all three
groups. Gardening ranks sixth for the general population and ninth for both
opera and musical theater attendees.
For all three groups, taking adult arts classes, participating in any amateur-
professional activity, and listening to literature are the arts activities that rank
the lowest.
62 I American Participation in Opera and Musical Theater — 1992
TABLE 31 . Rank Order of Leisure Activities Among
U.S. Adult Population,
1992
Activity
% Participating
1.
TV watching
96.4
2.
Any arts on media
65.1
3.
Exercising
59.7
4.
Movies
59.0
5.
Any amateur arts participation
57.9
6.
Gardening
54.7
7.
Reading literature
54.2
8.
Amusement parks
50.2
9.
Home improvements
47.6
TO.
Selected arts attendance
42.5
11.
Art fairs
40.7
12.
Playing sports
38.8
13.
Professional sports events
36.8
14.
Historical parks
34.5
15.
Outdoor activities
34.1
16.
Charity
32.6
17.
Any amateur-professional arts participat
on
15.2
18.
Listening to literature
12.5
19.
Adult art classes
8.6
Summary
Involvement in the arts can be seen as a choice among different types of
leisure activities. Viewed as such, Americans show a strong preference for the
arts. Choosing among the 19 leisure activities included in the SPPA survey,
approximately 65 percent of the population indicated they watch or listen to
an art form on the media, 59 percent go to movies, nearly 58 percent are involved
in performing or creating art, and more than 54 percent read literature. Only
watching TV, exercising, gardening, and going to amusement parks also attract
over 50 percent of the population.
Selected arts attendees are more involved than the general population in all
forms of leisure activities (both artistic and nonartistic). Yet for the general
population and for opera and musical theater attendees, the rank order of
preferred leisure activities is remarkably similar: TV watching, participating in
arts via the media, and attending movies top the list of preferred activities, with
listening to literature, involvement in public arts performances or displays, and
taking adult arts classes at the bottom.
Leisure Activities — Artistic and Other 63
TABLE 32. Rank Order of Leisure Activities Among Opera
and Musical Theater Attendees, 1 992
Opera Attendees
Musical Theater Attendees
%
Activity Participating
o/
/o
Activity Participating
1 . Any arts on media
94.9
1.
TV watching
96.3
2. TV watching
94.8
2.
Any arts on media
91.0
3. Movies
82.7
3.
Movies
82.0
4. Reading literature
82.5
4.
Exercising
80.2
5. Any amateur arts participation
8C.7
5.
Reading literature
78.5
6. Exercising
80.7
6.
Any amateur arts participation
77.3
7. Art fairs
71.1
7.
Art fairs
71.2
8. Historical parks
67.1
8.
Historical parks
64.3
9. Gardening
61.7
9.
Gardening
63.1
10. Home improvements
58.9
10.
Amusement parks
61.8
1 1 . Amusement parks
53.0
11.
Home improvements
59.7
1 2. Professional sports events
52.1
12.
Playing sports
53.8
13. Charity
49.9
13.
Professional sports events
53.4
14. Playing sports
49.4
14.
Charity
52.1
1 5. Outdoor activities
48.1
15.
Outdoor activities
49.5
16. Listening to literature
33.8
16.
Listening to literature
26.3
1 7. Any amateur-professional arts
17.
Any amateur-professionai arts
participation
31.8
participation
25.4
18. Adult art classes
26.0
18.
Adult art classes
24.0
Note: By definition, 100% of opera
and musica
I theater attendees attend a selected art; thus
there are only 1 8 categories.
Attitudes Toward
the Arts
The Desire to Attend More Arts Performances
An adult's involvement in the arts is volitional. Thus, the status of present-
day arts participation can be considered a fair reading of the degree to which
the populous is involved in the arts. It is not, however, a measure of the degree
to which they would like to be involved. The SPPA surveys attempted to measure
a desire for greater or lesser involvement by asking whether individuals would
like to attend selected arts performances more often and which ones they would
choose to attend more often. The survey results are summarized in Table 33.
A statistically significant increase took place between 1982 and 1992 in
Americans' desire to attend more performances of all of the selected art forms.
In 1992, 71.4 percent10 of the population expressed a desire to attend more of
these arts. Though the 71.4 percent includes both attendees and nonattendees,
it is high, considering that only 42.5 percent of the population actually attend
the selected arts. Although respondents may overstate their interest, this still
suggests a fairly large untapped audience for the arts — an estimated 132 million
TABLE 33. Percentages of Adult
Population Who Want to
Attend More Selected Arts Performances,
1982 and 1992
Change in Percent
Arts Activity
1982 (%)
1992 (%)
1982-1992
Opera
7.4
11.0
3.6
Musicals
32.5
36.2
3.8
Classical music
18.1
25.4
7.3
Jazz
18.1
25.2
7.1
Plays
24.5
33.9
9.4
Ballet
11.7
18.3
6.6
Other dance*
NA
23.8
NA
Art museums
30.7
37.6
6.9
None of the above*
NA
28.6
NA
Note: All changes statistically
significant at 95% confidence level
*Questions referring to "none
of the above"
and "other dance" were
not asked in 1982.
64
Attitudes Toward the Arts 65
adults. The question remains how this predisposition can be brought to the
muses.
The 1992 survey shows that 3.3 percent of the U.S. adult population attend
opera, while 1 1 percent desire to see more opera — more than three times the
number that attend. This represents about 20.4 million persons. While this
includes both those who already attend opera and those who do not, it probably
indicates potential for an increased opera audience.
In 1982, musicals ranked first among the art forms the general population
wanted to see more of (32.5 percent of those surveyed expressed such a desire).
In 1992, 36.2 percent of those surveyed said they want to see more musicals; but
this art form dropped to second place, after art museums, which 37.6 percent of
those surveyed said they wanted to attend more frequently. In terms of numbers
of individuals, about 70 million persons wanted to attend art museums more
frequently, and about 67 million wanted to attend more musicals. Notably, this
correlates with attendance preferences: attendance at art museums is the most
frequent selected arts activity, followed by attendance at musicals.
Table 34 shows how arts attendees feel about attending more arts perform-
ances. As expected, arts attendees are significantly more likely than the general
population to express a desire to attend more of the arts (in 1992, 93.4 percent
versus 71.4 percent). For most of the arts groups, their own art form is the first
or second choice among those they would like to attend more often.
However, opera attendees' first choice among the arts they desire to see more
often is not opera, but musicals (72.5 percent express such a desire), followed
by classical music (59.1 percent) and plays (54.8 percent). The selected arts
groups and the general population place opera last among all the art forms they
would like to see more of. A much larger percentage of opera-goers (49.4
percent) want to attend more opera than do any of the other arts attendees. The
opera-goers are followed by 3 1 . 1 percent of the ballet attendees and 26.7 percent
of the classical music attendees. Of all the arts groups, jazz attendees are the least
likely to want to attend more opera. (Only 17.5 percent express such a desire.)
Musical theater attendees' first choice of an art form they would like to
attend more often is musicals (71.6 percent express such a desire), followed by
plays (60.5 percent) and art museums (48.2 percent). As noted, musicals are the
first choice among opera-goers (72.5 percent), ballet attendees (65.8 percent),
and classical music goers (63.0 percent). Attendees of jazz performances and
plays rank musicals second among the art forms they would like to attend more
of, and "other dance" and art museum attendees rank musicals third. Clearly
musicals have a strong appeal both for the population as a whole and for the
selected arts attendees.
Using these tables as a guide, a development officer interested in increasing
ticket sales within a particular art form would have to decide where the effort
66 I American Participation in Opera and Musical Theater — 1992
TABLE 34. Percentages and Numbers of Adults and
Selected Arts Attendees Who Want to Attend
More Arts Performances, 1 992
Arts Attendees
U.S. Adult Musical Classical Other Art
Population Opera Theater Music Jazz Plays Ballet Dance Museums
Attendance rate (%)
Desire to Attend More
3.3 17.4 12.5 10.6 13.5
4.7
7.1 26.7
Percentage who want to attend more
Opera
11.0
49.4
19.8
26.7
17.5
19.1
31.1
20.2
19.6
Musical theater
36.2
72.5
, 71.6
63.0
58.0
61.4
65.8
51.9
56.1
Classical music
25.4
59.1
44.6
62.0
39.9
45.8
56.4
43.8
45.1
Jazz
25.2
42.9
37.9
41.5
69.4
40.1
40.7
43.5
40.1
Plays
33.9
54.8
60.5
58.7
57.5
70.6
59.3
53.8
57.0
Ballet
18.3
41.4
33.6
39.7
30.4
33.6
63.0
35.9
33.6
Other dance
23.8
34.0
36.9
35.1
36.2
36.6
41.0
49.6
34.2
Art museums
37.6
43.1
48.2
50.1
50.9
48.8
45.2
54.0
61.4
None of the above
28.6
0.6
4.4
3.3
3.8
4.4
3.1
4.8
4.8
Estimated
number (
millions)*
Opera
20.4
3.0
6.4
6.2
3.4
4.8
2.7
2.7
9.7
Musical theater
67.3
4.4
23.1
14.6
11.4
15.4
5.7
6.8
27.8
Classical music
47.2
3.6
14.4
14.4
7.9
11.5
4.9
5.8
22.4
Jazz
46.8
2.6
12.3
9.6
13.7
10.1
3.6
5.7
19.9
Plays
63.0
3.4
19.6
13.6
11.3
17.7
5.2
7.1
28.3
Ballet
34.0
2.5
10.9
9.2
6.0
8.4
5.5
4.7
16.7
Other dance
44.2
2.1
11.9
8.2
7.1
9.2
3.6
6.5
17.0
Art museums
69.9
- 2.6
15.6
11.6
10.0
12.2
3.9
7.1
30.5
None of the above
53.1
0.0
1.4
0.8
0.7
1.1
0.3
0.6
2.4
*Estimated number of adults was calculated by multiplying 1 85.838 million by the percentages
(to one decimal place) above. For benchmark attendees, percentage that want to attend more was
multiplied by attendance rate, then by population figure. Thus, for opera attendees, 49.4% of
3.3% of 1 85.838 million equals 3.0 million.
would be best spent. For example, a development officer interested in increasing
opera ticket sales could solicit from the 49.4 percent of the 6.13 million
opera-goers who expressed a desire to attend more opera. This would net 3
million potential candidates. On the other hand, the development officer could
opt to solicit from the the larger pool of 49.6 million persons who attend arts
museums; 19.6 percent of them stated a desire to attend more opera, resulting
in 9.7 million potential candidates. One could net 60,000 new ticket sales if 2
percent of all potential opera-goers bought tickets, whereas 97,000 new ticket
sales would result if only 1 percent of the potential art museum candidates
bought tickets.
Attitudes Toward the Arts I 67
Demographic Profiles of Those Who Want to
Attend More Performances
Opera
Table 35 presents a demographic profile of people who want to attend more
performances of opera and musical theater.
Almost 3 million adults (1.6 percent of the adult U.S. population) are
opera-goers who want to attend more opera. Looking at this group's demo-
graphic characteristics, we find a large proportion are white (83.2 percent), are
55 to 74 years old (38.5 percent), have postgraduate degrees (37.2 percent), are
married (58.9 percent), live in the suburbs (60.5 percent), and have incomes of
$50,000 or more (52.1 percent). Not surprisingly, this profile strongly resem-
bles the profile of the larger group made up of all those who currently
attend — with the following differences: opera-goers who want to attend more
include a larger proportion of Asians, and they are older and more likely to live
in the suburbs.
Over 17 million adults (9.3 percent of the general population) are not
opera-goers but wish to attend. This group tends to be predominantly female
(61.1 percent), white (83.3 percent), falling about equally in the age categories
between 25 and 64 years old, and spread over the educational spectrum (28.4
percent are high school graduates; 28.5 percent have some college; 19.2 percent
are college graduates; and 14.9 percent have postgraduate education). Most of
them are married (59.2 percent) and middle class (41.6 percent in the $25,000
to $49,999 annual income bracket). Compared with current opera attendees,
non-opera-going aspirants are more likely to be female, Hispanic, 75 or older,
less well educated, and less wealthy.
Recalling that only 3.3 percent of the population currently attend opera,
the percentage of nonattendees who want to see opera (9.3 percent of the
population) is significant. Does opera appeal to a wider audience than has been
assumed? Are opera companies missing individuals who have a genuine interest
but who cannot attend due to a variety of barriers? Expanding the opera audience
would require consideration of the potential audience. Among the 1 1 percent
of the population who express a desire to attend more opera, those who already
attend and those who do not reveal significantly different demographic profiles.
Musical Theater
As Table 35 indicates, 12.9 percent of all musical theater attendees would
like to see more musical theater. Their demographics are strikingly similar to
the larger group made up of all musical theater attendees. The aspirants are
68 I American Participation in Opera and Musical Theater — 1992
TABLE 35.
Demographic Characteristics of Those
Wanting
to Attend More Opera and Musical Theater,
1992 (%)
Those Wanting More
Those
Wanting
Opera
Musical Theater
More
All Curreiu
All Current
Opera
Musical
Theater
Musical
Theater
U.S. Adult
Opera
Non-
Non-
U.S. Adult Population
Population
Attendees
Attendees
attendees
Attendee
> Attendees
attendees
3.3
1.6
9.3
17.4
12.9
23.3
Of the percentage of th
e adult U.S. population that
wishes to attend
more opera
and
musical theater (shown above), the breakdown according to
demographic factors is
shown below.
For example, of the 9.3% of the nonattending population who wish to
attend more opera, 38.9% are male and 6'
1.1% are
female.
Gender
Male
47.9
45.0
45.7
38.9
41.5
39.2
39.5
Female
52.1
55.0
54.3
61.1
58.5
60.8
60.5
Race
White
77.5
84.7
83.2
83.3
84.7
86.7
82.7
Black
11.2
6.6
5.0
7.6
9.2
8.5
9.1
Native American
0.5
0.6
0.9
0.2
0.4
0.1
0.2
Asian
2.6
3.7
5.4
2.6
1.6
1.4
2.2
Hispanic
8.3
4.4
5.5
6.3
4.2
3.3
3.3
Age
-
18-24
13.0
10.7
12.9
9.3
11.8
10.9
11.5
25-34
22.8
19.0
14.8
14.4
20.9
18.4
23.4
35-44
21.4
21.5
14.9
20.6
22.7
23.3
20.0
45-54
14.9
19.2
16.6
18.6
19.1
20.2
14.7
55-64
11.4
14.0
20.9
16.4
12.6
13.2
11.7
65-74
9.9
12.1
17.6
12.2
9.5
10.6
11.9
75+
6.6
3.5
2.3
8.6
3.3
3.4
6.8
Education
0-some high
school
17.6
3.9
3.0
9.1
4.1
2.7
9.9
High school
grad
37.3
16.4
21.5
28.4
25.4
23.6
34.6
Some college
21.0
21.3
22.5
28.5
25.8
26.9
27.3
College grad
14.0
23.8
15.8
19.2
23.9
25.9
17.1
Postgrad
9.7
34.6
37.2
14.9
20.8
20.9
20.9
Marital status
Married
58.8
57.9
58.9
59.2
59.3
59.6
60.8
Widowed
7.2
6.4
8.7
9.0
5.9
6.0
7.6
Divorced
8.7
9.4
9.4
10.3
9.4
10.6
7.4
Separated
2.9
2.1
2.3
3.2
2.1
2.5
2.9
Never married
22.3
24.1
20.7
18.3
23.3
21.2
21.3
Attitudes Toward the Arts I 69
TABLE 35. Demographic Characteristics of Those Wanting
to Attend More Opera and Musical Theater,
1992 (%) (Continued)
U.S. Adult
Population
All Current
Opera
Attendees
Those
More
Wanting
Opera
All Current
Musical
Theater
Attendees
Those Wanting More
Musical Theater
Musical
Theater
Attendees
Opera
Attendees
Non-
attendees
Non-
attendees
Place of residence
Central city/SMSA
32.6
40.6
33.3
36.3
34.4
32.6
33.0
Suburbs/SMSA
45.0
49.5
60.5
44.0
51.2
53.6
48.0
Rural/non-SMSA
22.4
9.9
6.2
19.7
14.4
13.8
19.1
Income*
$0-$ 14,999
25.2
12.8
10.3
21.7
10.9
8.7
21.4
$15/000-$24/999
19.3
11.3
8.7
16.0
15.7
14.5
18.1
$25,000-549,999
36.6
29.2
28.8
41.6
37.1
36.4
38.3
$50,000-574,999
11.9
20.3
25.1
11.2
19.2
19.3
14.3
$75,000+
7.0
26.4
27.0
66.0
17.1
21.2
7.9
Note: Not all percentages add up to 100.0% due to rounding.
* About 8.4% of those in the survey did not answer the income question; therefore,
caution should be used with these figures.
predominantly female (60.8 percent), white (86.7 percent), middle-aged (56.7
percent between ages 35 and 64), well educated (73.7 percent have at least some
college education), married (59.6 percent), suburban residents (53.6 percent),
and economically comfortable or wealthy (76.9 percent with incomes of
$25,000 or more).
Over 43 million adults (23.3 percent of the general population) do not
attend musical theater, but would like to. The profiles of these aspirants vary
significantly from those of the general musical theater attendees. The aspirants
include more Asians (2.2 percent versus 1.6 percent); a much larger proportion
of persons aged 65 years and older (28.7 percent versus 12.8 percent); more
persons with less education (44.5 percent had high school diplomas or less versus
29.5 percent of current attendees); more rural residents (19.1 percent versus
14.4 percent); and more people with incomes below $14,999 (21.4 percent
versus 10.9 percent).
Combining the almost 24 million adults who currently attend musical
theater and wish to see more with the over 43 million who do not attend but
would like to, musical theater has a total potential audience of over 67 million.
Persons involved in promoting musical theater may find it worthwhile to
70 I American Participation in Opera and Musical Theater — 1992
consider how the genre can become more inclusive, reaching out to include
multicultural populations, the elderly, the less affluent, the less educated, and
more rural residents.
Music Preferences
Table 36 shows that, among the general population, interest in almost all
musical forms increased between 1982 and 1992. Country- western and folk
(contemporary) were the only two that showed a decrease in the percentage of
people expressing a preference (decreasing by 6.3 and 2.1 percentage points,
respectively). Regardless, country- western remains the most preferred musical
type, with 51.8 percent of the population expressing a liking for it, followed by
mood/easy listening (48.9 percent), then rock (43.5 percent). Opera and rap
are the least popular musical forms, attracting only 12.1 percent and 11.6
percent of the population, respectively.
Compared with the general population, selected arts attendees are more
likely to listen to every type of music except country-western. More than 54
percent of the arts attendees like classical/chamber music, for example, com-
pared with slightly more than 33 percent of the general population.
Compared with arts attendees as a whole and with the general population,
opera attendees show a stronger preference for most types of music. Their first
choice is classical music (preferred by 74.0 percent), followed by show tunes/
operetta (69.8 percent), then mood/easy listening (65.1 percent). Curiously, in
1992 opera music ranked seventh among opera-goers' preferred types of music,
with 56.4 percent expressing a liking for it. In 1982 opera music was opera-
goers' third choice.
Between 1982 and 1992 the percentage of opera attendees expressing a
preference increased for all types of music except folk and — ironically — opera.
The percentage of opera attendees expressing a preference for opera music
dropped from 59.8 percent in 1982 to 56.4 percent in 1992.
Musical theater attendees' first choice in music is mood/easy listening (liked
by 67.7 percent), followed by classical/chamber music (58.2 percent), then
blues/R&B (57.8 percent). Musicals/operetta ranked fourth in 1992, appealing
to 55.5 percent of all musical theater attendees. In 1982 this genre ranked third.
Between 1982 and 1992 there was an increased preference for all musical forms
except folk and country-western.
The question asking respondents to identify their favorite type of music
reveals a somewhat altered picture (see Table 37). Country- western still emerges
with the highest percentage of followers in the general population (21.4
percent), followed by rock (14.2 percent), hymns/gospel (9.4 percent), and
Attitudes Toward the Arts I 71
TABLE 36. Music Preferences, 1982 and 1992 (%)
Music Preferences
("Do you like to
listen to . . .")
U.S.
Popt
1982
Adult
lation
1992
Attendees
at Any
Selected Arts*
Opera
Attendees
Musical
Theater
Attendees
1982
1992
1982
1992
1982
1992
Classical/Chamber
27.4
33.3
45.2
54.2
68.0
74.0
47.0
58.2
Opera
9.5
12.1
16.4
19.8
59.8
56.4
18.3
23.6
Show tunes/
Operetta
22.9
27.5
41.0
44.9
64.0
69.8
48.8
55.5
Jazz
26.0
33.9
40.1
50.9
52.2
59.1
38.0
52.3
Reggae
NA
19.1
NA
29.0
NA
27.3
NA
28.8
Rap
NA
11.6
NA
14.1
NA
10.3
NA
13.8
Soul/Blues/R&B
26.7
36.7
40.9
36.2
Soul
24.1
33.2
28.5
32.9
Blues/R&B
40.3
56.0
61.5
57.8
Latin/Salsa
NA
19.7
NA
26.9
NA
29.7
NA
27.0
Big band
32.2
34.8
44.3
48.1
57.1
60.8
46.4
53.0
Parade/March
NA
18.3
NA
24.0
NA
29.4
NA
26.0
Country- Western
58.1
51.8
54.6
50.6
41.1
45.8
52.6
49.1
Bluegrass
24.4
29.4
28.9
34.6
29.8
36.8
28.1
34.1
Rock
35.3
43.5
41.9
53.8
32.8
41.9
37.5
53.2
Ethnic/National
NA
21.6
NA
30.3
NA
39.0
NA
31.9
Folk
(contemporary)
24.8
22.7
36.2
33.7
42.6
41.8
39.2
36.0
Mood/Easy
listening
47.8
48.9
62.4
62.5
58.9
65.1
66.4
67.7
New Age
NA
15.3
NA
24.2
NA
33.7
NA
24.9
Choral/Glee club
NA
14.2
NA
21.9
NA
30.8
NA
25.1
Hymns/Gospel
36.0
38.4
35.7
42.7
37.6
37.7
35.3
43.4
Barbershop
14.5
NA
19.8
NA
28.4
NA
22.0
NA
Note: NA indicates questions were not asked.
*Selected arts include opera, classical music, ballet, plays, jazz, musical theater, and
art museums. "Other dance" was not included in 1982 and for comparative purposes
is excluded in these figures for 1 992.
The wording of the question was changed between 1 982 and 1 992.
72 I American Participation in Opera and Musical Theater — 1992
mood/easy listening (9.1 percent). These four musical forms were the four top
favorites in 1982 as well. However, 13.3 percent of the general population
claimed they had no favorite.
Opera attendees' favorite music by far in both 1982 and 1992 was classi-
cal/chamber, with 28.8 percent and 19 percent claiming this category as their
favorite in the two years, respectively. Their next choices in 1992 were rock (8.6
percent), then jazz (8.3 percent) and mood/easy listening (7.5 percent). Similar
to the general population, a large proportion of opera attendees claimed they
had no favorite type of music (14.5 percent).
Musical theater attendees' favorite type of music in 1992 was rock (14.5
percent), then mood/easy listening (12.3 percent) and country- western (12.1
percent). The largest proportion claimed they had no favorite type of music
(14.8 percent).
Summary
More people appear to want to frequent the fine arts than actually do so. In
1992, 71.4 percent of the population expressed a desire to attend more of the
eight selected arts, compared with the 42.5 percent who actually attended. As
well, while the actual percentage of adults who attended the selected arts did
not increase significantly between 1982 and 1992 (the increase was only about
2 percentage points), the percentage of people who said they would like to attend
more arts performances increased significantly in the various arts categories,
ranging from 3.6 percentage points for opera to 9.4 percentage points for plays.
In 1 992, 1 1 percent of the population wanted to see more opera (1.6 percent
of the population identified themselves as opera-goers who want to see more
opera, and 9.3 percent were nonattendees who want to attend). More than three
times as many individuals expressed a desire to attend opera as actually attend
(11 percent versus 3.3 percent).
Opera attendees who want to attend more frequently resemble current
attendees in general, although their numbers include slightly more Asians,
suburbanites, and older folks. The nonattendees who want to attend more, on
the other hand, are a different ilk. Compared with current attendees, more of
their numbers are female, Hispanic, very old, less educated, and not as wealthy.
In 1982, musicals ranked first as the surveyed art form individuals wanted
to attend more frequently, with 32.5 percent of the population expressing such
a desire. In 1992, musicals were second to art museums: 36.2 percent of the
public wanted to attend more musicals, 37.6 percent wanted to go to art
museums more frequently. Compared with the 36.2 percent who wanted to
attend more, 17.4 percent of the adult public actually attended musicals. Among
Attitudes Toward the Arts I 73
TABLE 37. Favorite
Type of Music, 1982 and 1992 (%)
Attendees
Musical
U.S. Adult
at Any
Opera
Theater
Population
Selected Arts*
Attendees
Attendeees
Favorite Music
("Which type do you like best?")
198°
Classical/Chamber
6.8
11.8
28.8
13.3
Opera
0.6
0.8
2.9
1.0
Show tunes/Operetta
2.4
4.1
9.6
6.1
Jazz
3.4
6.2
5.6
5.8
Soul/Blues/R&B
4.5
4.0
2.6
3.7
Big band
5.8
5.4
6.3
5.9
Country- Western
23.6
13.7
2.3
11.6
Bluegrass
0.9
0.7
0.0
0.7
Rock
15.0
14.9
4.7
12.6
Folk (contemporary)
1.3
2.2
1.9
2.1
Mood/Easy listening
13.9
17.6
12.8
18.8
Hymns/Gospel
11.0
6.4
4.2
5.5
Barbershop
0.3
0.2
0.8
0.4
No type best
7.6
9.3
10.5
9.4
Other/all
Totals 1982
2.9
2.7
7.0
3.2
100.0
100.0
100.0
100.1
1QQO
Classical/Chamber
6.0
1 J J 1m
9.3
19.0
9.6
Opera
0.6
0.9
5.5
1.5
Show tunes/Operetta
1.5
2.1
5.4
2.9
Jazz
5.2
8.2
8.3
7.9
Reggae
0.9
1.0
2.3
0.9
Rap
1.3
0.9
0.0
0.6
Soul
1.7
1.9
2.9
1.5
Blues/R&B
2.5
3.2
2.7
3.0
Latin/Salsa
2.6
1.2
1.0
0.6
Big band
4.0
4.7
4.8
5.4
Parade/March
0.3
0.4
0.0
0.4
Country- Western
21.4
12.8
5.6
12.1
Bluegrass
0.6
0.8
0.0
0.7
Rock
14.2
15.6
8.6
14.5
Ethnic/National
2.7
1.8
1.5
1.1
Folk (contemporary)1
0.9
1.5
1.9
1.2
Mood/Easy listening
9.1
10.1
7.5
12.3
New Age
1.5
2.7
4.3
2.5
Choral/Glee Club
0.2
0.2
0.0
0.2
74 I American Participation in Opera and Musical Theater — 1992
TABLE 37. Favorite Type of Music, 1982 and 1992 (%)
(Continued)
U.S. Adult
Population
Attendees
at Any
Selected Arts*
Opera
Attendees
Musical
Theater
Attendeees
Hymns/Gospel
No type best
1992
9.4
13.3
99.9
6.8
13.9
4.2
14.5
6.2
14.8 '
Totals
100.0
100.0
99.9
Note: The number of choices varied from 1 982 to 1 992, and so the exact percentages
of the U.S. adult population are not comparable between years. Not all percentages
add up to 1 00.0% due to rounding.
*Selected arts include opera, classical music, ballet, plays, jazz, musicals, and art
museums. "Other dance" was not included in 1982 and for comparative purposes is
excluded in these figures for 1 992.
The wording of the question was changed between 1 982 and 1 992.
those who wanted to attend more, about one-third were current attendees
(comprising 12.9 percent), and two-thirds were not current attendees (23.3
percent).
The profiles of musical theater attendees who want to attend more parallel
those of the general musical theater attendees. However, the profiles of nonat-
tendees who want to go are quite different. More of their ranks are Asian, older,
less educated, rural, and less economically advantaged.
Clearly there are categories of persons who express interest in attending
opera and musical theater who are outside the traditional audiences. Whether
and how they could be included may present a challenge for each art profession.
Despite showing a decrease in attendance between 1982 and 1992, Ameri-
can musicals/operetta remains popular among both the general population as
well as attendees of other fine arts. For all of the selected arts attendees except
those who attend jazz, plays, "other dance," and art museums, musicals/operetta
is their first choice of art form they would like to see more of. Among these
attendees, it is their second or third choice.
Opera attendees appear to be real music buffs. Compared with the general
population and with other arts attendees, a larger percentage of them express a
liking for various types of music.
Related Research
Opera and musical theater companies submit records to service organiza-
tions that publish regional and national overviews of their respective fields.
Attendance rates and audience figures provided by some of these organizations
allow some comparisons with SPPA attendance rates.
Opera
The national service organization that serves opera is OPERA America. It
conducts annual surveys of its membership of professional American and
Canadian opera companies. Although its attendance figures combine both
American and Canadian companies, OPERA America estimates that about 10
percent of its attendance is Canadian. In any given year, approximately 5 percent
of all North American opera companies are not members of OPERA America,
and the annual survey is not always inclusive of all members.
OPERA America defines a professional opera company as a nonprofit
organization with an annual budget of at least $100,000 that produces and
performs at least two performances of two staged productions each season,
employs at least one full-time general/artistic/music director plus a professional
manager on a full-time or seasonal basis, and uses an orchestra and paid
professional artists for production. Data from OPERA America show that the
number of professional opera companies in the United States increased from
80 in 1982 to 100 in 1992.
Excluding the 10 percent attendance attributed to Canadian companies
according to OPERA America, for 1992 the estimated total U.S. opera atten-
dance was 6.3 million. This included attendance at performances with paid
admissions, plus estimated attendance at free performances and other events
sponsored by opera companies, including lectures, dress rehearsals, and educa-
tional previews. The SPPA survey estimated the audience at 10.31 million by
adding up the number of times respondents said they attended during the year.12
The higher SPPA attendance figure would include attendance at nonprofes-
sional productions, such as those at colleges and universities and opera clubs.
76 I American Participation in Opera and Musical Theater — 1992
Musical Theater
The League of American Theatres and Producers, Inc., tracks data on
Broadway and touring companies and compiles data from a number of other
national theater organizations. The following are their estimates of Broadway
attendance from the 1981-82 to the 1992-93 seasons, including musicals and
plays:13
Season Attendance (in millions)
1981-82
10.1
1982-83
8.4
1983-84
7.9
1984-85
7.4
1985-86
6.6
1986-87
7.05
1987-88
8.14
1988-89
7.97
1989-90
8.03
1990-91
7.32
1991-92
7.37
1992-93
7.86
In any given Broadway season, musicals tend to outnumber plays. Broadway
attendance reflects the SPPA national trend between 1982 and 1992 in terms
of the declining attendance at musicals.
The following are the League's estimates and calculations of theater (musi-
cals and plays) attendance in the entire United States for the 1991 fiscal year
(see Notes for sources of data):
Professional Theater Total 5 1 ,665 ,198
Broadway 7,320,00014
Broadway National and Bus and Truck Tours 17,700,000
Nonprofit Professional Theater 16,645, 19816
Other Regional Musical Theater 5,000,00017
Dinner Theater 5,000,00018
The League calculated that musicals accounted for 67 percent of the
attendance. This amounts to 36,265,682 persons attending musical theater in
the 1990-91 season.19 National data from the SPPA estimated U.S. attendance
Related Research 77
for musicals to be 65.25 million persons. This was calculated by adding up the
number of times respondents said they attended during the year.
The demographic data of Broadway musical theater attendees indicate that
the majority are female (61.8 percent), about a third are between the ages of 35
and 49 (32.7 percent), and another third are 50 or older (32.6 percent). Most
are married (54.8 percent), although a large proportion are single (32. 1 percent).
Twenty-one percent are in the $50,000 to $75,000 income bracket, while 46.7
percent have incomes over $75,000. Nearly two-thirds (64.7 percent) have
college degrees or more, and more than a fourth (28.8 percent) have graduate
a 21
degrees.
The profile of the Broadway musical theater attendee reflects that of the
SPPA musical theater attendee, but is more extreme. Broadway- goers are more
likely to be female, somewhat older, wealthier, and more highly educated.
Summary
The larger audience estimates for both opera and musical theater/operetta
tracked by the SPPA survey versus the service organizations are due, in part, to
their different data sources. The service organizations obtain their data from
ticket sales reported by professional opera and theater organizations. Neither
OPERA America nor the League's membership includes the total universe of
national professional and semiprofessional organizations; this reduces their
audience estimates.
The SPPA survey obtained attendance estimates by interviewing a random
U.S. adult population sample based on their recollections of attending op-
era/musicals within the last 12 months; recollections could be inflated. As well,
attendance included semiprofessional and nonprofessional productions, such as
those produced by colleges and community organizations, which would increase
the attendance figures.
Taking into consideration the differences in data sources, the discrepancy
between the audience estimates collected by service organizations and the SPPA
survey is still substantial and should be questioned further.
Appendix A
Survey of Public Participation in the
Arts Questionnaire, 1 992
INTRODUCTION - Now I have some questions about your leisure activities. The Bureau of the
Census is collecting this information for the National Endowment for the Arts. The survey is
authorized by Title 20, United States Code, section 954 and Title 13, United States Code, section
8. Your participation in this interview is voluntary and there are no penalties for not answering
some or all of the questions. (If PERSONAL INTERVIEW, hand respondent the Privacy Act Statement,
SPPA-13.) i
4.
The following questions are about YOUR
activities during the LAST 12 months —
between 1,19 , and
. 19
With the exception of elementary or high
school performances, did YOU go to a live
jazz performance during the LAST 12
MONTHS?
oDNo
Yes - About how many times did you do
this during the LAST 12 MONTHS?
Number of times
(With the exception of elementary or high
school performances,) Did you go to a live
classical music performance such as
symphony, chamber, or choral music
during the LAST 12 MONTHS?
oDNo
Yes - About how many times did you do
this during the LAST 12 MONTHS?
Number of times
(With the exception of elementary or high
school performances,) Did you go to a live
opera during the LAST 12 MONTHS?
oDNo
Yes - About how many times did you do
this during the LAST 12 MONTHS?
Number of times
(With the exception of elementary or high
school performances,) Did you go to a live
musical stage play or an operetta during
the LAST 12 MONTHS?
oDNo
Yes - About how many times did you do
this during the LAST 12 MONTHS?
Number of times
014
7.
(With the exception of elementary or high
school performances,) Did you go to a live
performance of a non-musical stage play
during the LAST 12 MONTHS?
oDNo
Yes - About how many times did you do
this during the LAST 12 MONTHS?
Number of times
6. (With the exception of elementary or high
school performances,) Did you go to a live
ballet performance during the LAST 12
MONTHS?
oDNo
Yes - About how many times did you do
this during the LAST 12 MONTHS?
Number of times
(With the exception of elementary or high
school performances,) Did you go to a live
dance performance other than ballet, such
as modern, folk, or tap during the LAST 12
MONTHS?
oDNo
Yes - About how many times did you do
this during the LAST 12 MONTHS?
Number of times
(During the LAST 12 MONTHS,) Did you
visit an ART museum or gallery?
oDNo
Yes - About how many times did you do
this during the LAST 12 MONTHS?
Number of times
(During the LAST 12 MONTHS,) Did you
visit an ART fair or festival, or a CRAFT fair
or festival?
oDNo
Yes - About how many times did you do
this during the LAST 12 MONTHS?
Number of times
78
Appendix A — Survey Questionnaire I 79
10. (During the LAST 12 MONTHS.) Did you
visit an historic park or monument, or
tour buildings, or neighborhoods for their
historic or design value?
^U oDNo
Yes - About how many times did you do
this during the LAST 12 MONTHS?
Number of times
11. With the exception of books required for
work or school, did you read any books
during the LAST 12 MONTHS?
oDNo
Yes - About how many books did you
read during the LAST 12 MONTHS?
Number of books
12. (During the LAST 12 MONTHS,) Did you
read any -
Read answer categories
a. Plays?
I 021 I iDNo 2DYes
b. Poetry?
I 022 I iDNo 2DYes
Novels or short stories? I 023 I iDNo 2D Yes
13. (During the LAST 12 MONTHS,) Did you
listen to -
a. A reading of poetry.
either live or recorded? I 024 I :DNo 2D Yes
b. A reading of novels or
books either live or
recorded?
I 025 I iDNo 2DYes
14a. (During the LAST 12 MONTHS,) Did you
watch a jazz performance on television or
a video (VCR) tape?
J 1 DNo - Skip to item 14c
Yes - Was that on TV, VCR, or both?
2DTV
aDVCR
4 □ Both
b. About how many times did you do this in
the LAST 12 MONTHS?
Number of times
c. (During the LAST 12 MONTHS,) Did you
listen to jazz on radio?
1DN0
2D Yes
d. (During the LAST 12 MONTHS,) Did you
listen to jazz records, tapes, or compact
discs?
iDNo
sD Yes
Page 2
15a. (During the LAST 12 MONTHS,) Did you
watch a classical music performance on
television or a video (VCR) tape?
°ED iDNo - Skip to item 15c
Yes - Was that on TV, VCR, or both?
2DTV
aDVCR
4 □ Both
b. About how many times did you do this (in
the LAST 12 MONTHS)?
Number of times
c. (During the LAST 12 MONTHS,) Did you
listen to classical music on radio?
iDNo
2D Yes
d. (During the LAST 12 MONTHS.) Did you
listen to classical music records, tapes or
compact discs?
iDNo
2D Yes
16a. (During the LAST 12 MONTHS,) Did you
watch an opera on television or a video
(VCR) tape?
034 I 1 DNo - Skip to item 16c
Yes - Was that on TV, VCR, or both?
2DTV
aDVCR
4 D Both
b. About how many times did you do this (in
the LAST 12 MONTHS)?
Number of times
c. (During the LAST 12 MONTHS,) Did you
listen to opera music on radio?
1DN0
2D Yes
d. (During the LAST 12 MONTHS,) Did you
listen to opera music records, tapes, or
compact discs?
1DN0
2D Yes
17a. With the exception of movies, did you
watch a musical stage play or an operetta
on television or a video (VCR) tape during
the LAST 12 MONTHS?
DNo - Skip to item 17c
Yes - Was that on TV, VCR, or both?
2DTV
3D VCR
4 D Both
b. About how many times did you do this (in
the LAST 12 MONTHS)?
Number of times
c. (During the LAST 12 MONTHS,) Did you
listen to a musical stage play or an operetta
on radio?
1DN0
2D Yes
d. (During the LAST 12 MONTHS,) Did you
listen to a musical stage play or an operetta
on records, tapes, or compact discs?
1DN0
2D Yes
FORM SPPA-2 (4-9-92I
80
American Participation in Opera and Musical Theater — 1992
18a. With the exception of movies, situation
comedies, or TV series, did you watch a
non-musical stage play on television or a video
(VCR) tape during the LAST 12 MONTHS?
D No - Skip to item 13c
Yes - Was that on TV, VCR, or both?
2DTV
sDVCR
4 □ Both
b. About how many times did you do this (in the
LAST 12 MONTHS)?
Number of times
c. (During the LAST 12 MONTHS,) Did you listen
to a radio performance of a non-musical stage
play?
iDNo
zDYes
19a. With the exception of music videos, did you
watch on television or a video (VCR) tape
dance such as ballet, modern, folk, or tap
during the LAST 12 MONTHS?
i D No - Skip to item 20a
Yes - Was that on TV, VCR, or both?
aDTV
aDVCR
4 □ Both
b. About how many times did you do this (in
the LAST 12 MONTHS)?
Number of times
20a. (During the LAST 12 MONTHS,) Did you watch
a program about artists, art works, or art
museums on television or a video (VCR) tape?
iQNo - Skip to item 21a
Yes - Was that on TV, VCR, or both?
aDTV
sD VCR
4 □ Both
b. About how many times did you do this (in
the LAST 12 MONTHS)?
Number of times
21 a. I'm going to read a list of events that some
people like to attend. If you could go to any of
these events as often as you wanted, which
ones would you go to MORE OFTEN than you
do now? I'll read the list. Go to -
Mark (X) all that apply.
iDJazz music performances
2 ZCiassical music performances
3D Operas
4 □ Musical plays or operettas
sD Non-musical plays
6 □ Ballet performances
7 D Dance performances other than ballet
s [J Art museums or galleries
9 □ None of these - Skip to item 22a
If only one is chosen, skip to item 22a.
If more than one is chosen, ask -
b. Which of these would you like to do most?
Category number
ooDNo one thing most
22a. The following questions are about your
participation in other leisure activities.
Approximately how many hours of television
do you watch on an average day?
Number of hours
b. During the LAST 12 MONTHS, did YOU go
out to the movies?
1DN0
2D Yes
c. With the exception of youth sports, did you
go to any amateur or professional sports
events during the LAST 12 MONTHS?
1DN0
2D Yes
d. During the LAST 12 MONTHS, did you go to
an amusement or theme park, a carnival, or
a similar place of entertainment?
1DN0
2D Yes
e. During the LAST 12 MONTHS, did you jog,
lift weights, walk, or participate in any other
exercise program?
1DN0
2D Yes
During the LAST 12 MONTHS, did you
participate in any sports activity, such as
softball, basketball, golf, bowling, skiing, or
tennis?
1DN0
2D Yes
g. Did you participate in any outdoor activities,
such as camping, hiking, or canoeing during
the LAST 12 MONTHS?
1DN0
2D Yes
h. Did you do volunteer or charity work during
the LAST 12 MONTHS?
1DN0
2D Yes
i. Did you make repairs or improvements on
your own home during the LAST 12
MONTHS?
1DN0
2D Yes
Did you work with indoor plants or do any
gardening for pleasure during the LAST 12
MONTHS?
1DN0
2D Yes
23a. (During the LAST 12 MONTHS,) Did you work
with pottery, ceramics, jewelry, or do any
leatherwork or metalwork?
1 D No - Skip to item 24a
2D Yes
b. Did you publicly display any of your works?
_2£U 1DN0
2D Yes
FORM SPPA-2 (4-9-92)
Page 3
Appendix A — Survey Questionnaire I 81
24a
(During the LAST 12 MONTHS,) Did you do
any weaving, crocheting, quilting,
needlepoint, or sewing?
1 □ No - Skip to item 25a
2 D Yes
Did you publicly display any of your works?
iDNo
2 DYes
25a
069 |
(During the LAST 12 MONTHS,) Did you
make photographs, movies, or video tapes
as an artistic activity?
1 □ No - Skip to item 26a
2D Yes
b. Did you publicly display any of your works?
iDNo
2D Yes
26a
(During the LAST 12 MONTHS,) Did you do
any painting, drawing, sculpture, or
printmaking activities?
1 □ No - Skip to item 27a
2D Yes
Did you publicly display any of your works?
iDNo
2D Yes
27a. With the exception of work or school, did you
do any creative writing such as stories, poems,
or plays during the LAST 12 MONTHS?
1 □ No - Skip to item 28a
2D Yes
b. Were any of your writings published?
D iDNo
>DYes
28a. Did you write or compose any music during
the LAST 12 MONTHS?
JED 1 DNo - Skip to item 29a
2 DYes
b. Was your musical composition played in a
public performance or rehearsed for a public
performance?
iDNo
2 DYes
29a. Do you own any original pieces of art, such
as paintings, drawings, sculpture, prints, or
lithographs?
077 I 1 □ No - Skip to item 30a
2 DYes
b. Did you purchase or acquire any of these
pieces during the LAST 12 MONTHS?
i!£j iDNo
2 DYes
30a. During the LAST 12 MONTHS, did you
perform or rehearse any jazz music?
079 I 1 D No - Skip to item 31a
2DYes
Page 4
30b. Did you play any jazz in a public performance
or rehearse for a public performance?
1DN0
2 DYes
31a. During the LAST 12 MONTHS, did you play
any classical music?
081 I 1 □ No - Skip to item 32a
2 DYes
b. Did you play classical music in a public
performance or rehearse for a public
performance?
"JO iDNo
2 DYes
32a. During the LAST 12 MONTHS, did you sing any
music from an opera?
083 I 1 D No - Skip to item 33a
2 DYes
b. Did you sing in a public opera performance
or rehearse for a public performance?
1DN0
2DYes
33a. During the LAST 12 MONTHS, did you sing
music from a musical play or operetta?
HE] 1 D No - Skip to item 33c
2 DYes
b. Did you sing in a public performance of a
musical play or operetta or rehearse for a
public performance?
1DN0
2 DYes
c. During the LAST 12 MONTHS, did you sing in
a public performance with a chorale, choir,
or glee club or other type of vocal group, or
rehearse for a public performance?
1DN0
2 DYes
34.
(During the LAST 12 MONTHS,) Did you act in a
public performance of a non-musical play or
rehearse for a public performance?
1DN0
2 DYes
35a. (During the LAST 12 MONTHS,) Did you dance
any ballet?
J 1 DNo - Skip to item 36a
2 DYes
b. Did you dance ballet in a public performance
or rehearse for a public performance?
1DN0
2 DYes
36a. (During the LAST 12 MONTHS,) Did you do any
dancing other than ballet such as modern, folk,
or tap?
091 I 1 D No - Skip to item 37a
2 DYes
b. Did you dance modern, folk, or tap in a
public performance?
iDNo
2 DYes
FORM SPPA-2 (49-92I
82 I American Participation in Opera and Musical Theater — 1992
37a. I'm going to read a list of some types of
music. As I read the list, tell me which of
these types of music you like to listen to?
Mark (X) all that apply.
1 L Classical/Chamber music
2D Opera
3D Operetta/Broadway musicals/Show tunes
4 D Jazz
5 D Reggae (Reg gay)
euRap music
7 D Soul
8 D Blues/Rhythm and blues
9 D Latin/Spanish/Salsa
ioDBig band
11 D Parade/Marching band
1 2 D Country- western
isDBIuegrass
uDRock
isDThe music of a particular Ethnic/
National tradition
16 D Contemporary folk music
17 D Mood/Easy listening
isDNew age music
igDChoral/Glee club
20 D Hymns/Gospel
21 D All
22 D None/Don't like to listen to music - Skip to item 38a
39a. (Have you EVER taken lessons or
classes) in visual arts such as sculpture,
painting, print making, photography, or
film making?
1 D No - Skip to item 40a
2D Yes
b. Did you take these lessons when you were
Read categories. (Do not read category 4 if
respondent is under 25 years old.)
Mark (X) all that apply.
1 D Less than 1 2 years old
2D 12-1 7 years old
3D 18-24 years old
4D25 or older
b. If only one category is marked in 37a, enter code ir
37b without asking. Which of these do you like
best?
099
Category number
00D No one type best
38a. Have you EVER taken lessons or classes in
music - either voice training or playing an
instrument?
Z°°J 1 D No - Skip to item 39a
2D Yes
b. Did you take these lessons when you were
Read categories. (Do not read category 4 if
respondent is under 25 years old.)
Mark (X) all that apply.
1 D Less than 1 2 years old
2D 12-1 7 years old
3D 18-24 years old
-Z 25 or older
CHECK
ITEM A
Refer to item 38b
Is box 1 or 2 marked in item 38b?
D No - Skip to Check Item B
DYes - Ask item 38c
38c. Were these lessons or classes offered by the
elementary or high school you were
attending or did you take these lessons
elsewhere?
1D Elementary/high school
2D Elsewhere
3D Both
CHECK
ITEM B
38d.Did you take any of these lessons or
classes in the past year?
1DN0
2 DYes
CHECK
ITEM C
Refer to item 39b
Is box 1 or 2 marked in item 39b?
D No - Skip to Check Item D
DYes - Ask item 39c
39c. Were these lessons or classes offered by the
elementary or high school you were
attending or did you take these lessons
elsewhere?
1 D Elementary/high school
2D Elsewhere
3D Both
CHECK
ITEM D
Refer to item 39b
If box 4 is marked in item 39b, ASK item 39d.
If not - Is box 2 or 3 marked in item 39b AND
the respondent is under 25 years old?
D No - Skip to item 40a
DYes - Ask item 39d
39d.Did you take any of these lessons or classes
in the past year?
1DN0
2 DYes
40a. (Have you EVER taken lessons or classes) in
acting or theater?
108 I 1 D No - Skip to item 4 1a
2 DYes
b. Did you take these lessons when you were
Read categories. (Do not read category 4 if
respondent is under 25 years old.)
Mark (X) all that apply.
iDLess than 12 years old
2D 12-1 7 years old
3D 18-24 years old
4D25 or older
Refer to item 38b
If box 4 is marked in item 38b, ASK item 38d.
If not - Is box 2 or 3 marked in item 38b AND
the respondent is under 25 years old?
D No - Skip to item 39a
D Yes - Ask item 38d
CHECK
ITEM E
Refer to item 40b
Is box 1 or 2 marked in item 40b?
DNo - Skip to Check Item F
DYes - Ask item 40c
40c. Were these lessons or classes offered by the
elementary or high school you were
attending or did you take these lessons
elsewhere?
1D Elementary/high school
2DEIsewhere
3D Both
FORM SPPA-2 14-9-921
Page 5
Appendix A — Survey Questionnaire I 83
CHECK
ITEM F
Refer to item 40b
If box 4 is marked in item 40b, ASK item 40d.
If not - Is box 2 or 3 marked in item 40b AND
the respondent is under 25 years old?
□ No - Skip to item 41a
□ Yes- Ask item 40d
40d.Did you take any of these lessons or classes
in the past year?
iDNo
aOYes
41 a. (Have you EVER taken lessons or classes) in
ballet?
ED 1 □ No -Skip to item 42a
?□ Yes
b. Did you take these lessons when you were
Read categories. (Do not read category 4 if
respondent is under 25 years old.)
Mark (X) all that apply.
HU DLess than 12 years old
2 □ 1 2-1 7 years old
3D 18-24 years old
4 □ 25 or older
CHECK
ITEM G
Refer to item 41b
Is box 1 or 2 marked in item 41b?
□ No - Skip to Check Item H
□ Yes - Ask item 41c
41c. Were these lessons or classes offered by the
elementary or high school you were
attending or did you take these lessons
elsewhere?
iD Elementary/high school
2D Elsewhere
3D Both
CHECK
ITEM H
Refer to item 41b
If box 4 is marked in item 41b, ASK item 41d.
If not - Is box 2 or 3 marked in item 41b AND
the respondent is under 25 years old?
□ No - Skip to item 42a
□ Yes - Ask item 41 d
41 d. Did you take any of these lessons or classes
in the past year?
iDNo
2 0Yes
42a. (Have you EVER taken lessons or classes) in
dance, other than ballet such as modern, folk
or tap?
HU 1 □ No - Skip to item 43a
2D Yes
Did you take these lessons when you were -
Read categories. (Do not read category 4 if
respondent is under 25 years old.)
Mark (X) all that apply.
1 □ Less than 1 2 years old
2D 12-1 7 years old
□ 18-24 years old
4Q25 or older
CHECK
ITEM I
Page 6
Refer to item 42b
Is box 1 or 2 marked in item 42b?
□ No - Skip to Check Item J
□ Yes- Ask item 42c
42c. Were these lessons or classes offered by the
elementary or high school you were
attending or did you take these lessons
elsewhere?
118 I iD Elementary/high school
2D Elsewhere
3 □ Both
CHECK
ITEM J
Refer to item 42b
If box 4 is marked in item 42b, ASK item 42d.
If not - Is box 2 or 3 marked in item 42b AND
the respondent is under 25 years old?
□ No - Skip to item 43a
□ Yes - Ask item 42d
42d.Did you take any of these lessons or classes
in the past year?
iDNo
2D Yes
43a. Have you EVER taken lessons or classes in
creative writing?
lED 1 □ No - Skip to item 44a
2 0Yes
b. Did you take these lessons when you were
Read categories. (Do not read category 4 if
respondent is under 25 years old.)
Mark (X) all that apply.
HD 1 □ Less than 12 years old
2 □ 1 2-1 7 years old
3D 18-24 years old
4D25or older
CHECK
ITEM K
Refer to item 43b
Is box 1 or 2 marked in item 43b?
□ No - Skip to Check Item L
□ Yes - Ask item 43c
43c
Were these lessons or classes offered by the
elementary or high school you were
attending or did you take these lessons
elsewhere?
1 □ Elementary/high school
2D Elsewhere
3 □ Both
CHECK
ITEM L
Refer to item 43b
If box 4 is marked in item 43b, ASK item 43d.
If not - Is box 2 or 3 marked in item 43b AND
the respondent is under 25 years old?
□ No - Skip to item 44a
□ Yes - Ask item 43d
43d. Did you take any of these lessons or classes
in the past year?
iDNo
2D Yes
44a. (Have you EVER taken a class) in art
appreciation or art history?
iEJ 1 □ No - Skip to item 45a
2 0Yes
b. Did you take this class when you were ■
Read categories. (Do not read category 4 if
respondent is under 25 years old.)
Mark (X) all that apply.
J£U 1 □ Less than 1 2 years old
% 2 □ 1 2- 1 7 years old
□ 18-24 years old
4D25 or older
FORM SPPA-2 (4-9-92)
84 I American Participation in Opera and Musical Theater — 1 992
CHECK
ITEM M
Refer to item 44b
Is box 1 or 2 marked in item 44b?
□ No - Skip to Check Item N
DYes - Ask item 44c
44c. Was this class offered by the elementary or
high school you were attending or did you
take this class elsewhere?
45c. Was this class offered by the elementary or
high school you were attending or did you
take this class elsewhere?
iD Elementary/high school
2D Elsewhere
aD Both
CHECK
ITEM P
1 □ Elementary/high school
2D Elsewhere
3D Both
CHECK
ITEM N
Refer to item 44b
If box 4 is marked in item 44b, ASK item 44d.
If not - Is box 2 or 3 marked in item 44b AND
the respondent is under 25 years old?
□ No - Skip to item 45a
□ Yes - Ask item 446
44d.Did you take any of these lessons or classes
in the past year?
iDNo
2 DYes
45a. (Have you EVER taken a class) in music
appreciation?
128 I 1 □ No - Skip to item 46a
2 DYes
b. Did you take this class when you were ■
Read categories. (Do not read category 4 if
respondent is under 25 years old.)
Mark (X) all that apply.
i!LJ 1 □ Less than 1 2 years old
2D 12-1 7 years old
3D 18-24 years old
4 □ 25 or older
Refer to item 45b
If box 4 is marked in item 45b, ASK item 45d.
If not - Is box 2 or 3 marked in item 45b AND
the respondent is under 25 years old?
□ No - Skip to item 46a
DYes - Ask item 45d
45d.Did you take this class in the past year?
1DN0
2DYes
46a. What is the highest grade (or year) of regular
school your FATHER completed?
LI 01 D7th grade or less
02 □ 8th grade
03D9th-11th grades
04 □ 12th grade
05 □ College (did not complete)
oeD Completed college (4+ years)
07DPost graduate degree (M.A., Ph.D., M.D., J.D., etc.)
08 D Don't know
b. What is the highest grade (or year) of regular
school your MOTHER completed?
133 1 01 D7th grade or less
02 D 8th grade
03D9th-11th grades
04 □ 12th grade
05 □ College (did not complete)
oe □ Completed college (4+ years)
07QPost graduate degree (M.A., Ph.D., M.D., J.D., etc.)
08 □ Don't know
CHECK
ITEM O
Refer to item 45b
Is box 1 or 2 marked in item 45b?
□ No - Skip to Check Item P
□ Yes - Ask item 45c
CHECK
ITEM Q
Is this the LAST household member to be
interviewed?
□ No - Go back to the NCS-1 and interview the
next eligible NCS household member
□ Yes - END INTERVIEW
FORM SPPA-2 I2-9-92)
Page 7
Appendix B
Additional Tables and Text
on Media Participation
Arts Participation via TV or VCR by Selected
Arts Attendees
Arts attendees are significantly more likely to watch the arts on TV or VCR
than is the general public. There is a tendency for each arts group to be
high in both attendance and media participation within their own art form.
That is, opera attendees also tend to be high TV and VCR watchers of opera;
jazz-goers tend to be high consumers of jazz on TV and VCR, and so on.
Opera-goers tend to be the arts buffs in comparison with the other arts
groups. In both 1982 and 1992, opera attendees were more likely to watch all
the art forms on TV and VCR than were the other arts groups, except for jazz
and ballet attendees, who had higher rates of media participation in their
respective art forms. Among opera-goers, between 1982 and 1992 watching
classical music, jazz, and arts programs on TV/VCR increased 1.0, 7.6, and
6.4 percentage points, respectively. Watching the other arts decreased, espe-
cially plays and ballet, which dropped by 21 and 14.1 percentage points,
respectively.
The rank order of TV/VCR watching of various art forms has altered among
opera-goers between 1982 and 1992. Watching classical music programs has
remained first (66.2 percent and 67.2 percent). In 1982 plays were second (64.7
percent), followed by ballet (56.5 percent); jazz was last (36 percent). In 1992,
watching programs on artists/art museums was second (57.5 percent), and ballet
was last (42.4 percent).
Among musical theater patrons, between 1 982 and 1 992 watching perform-
ances of classical music, jazz, and programs on artists/art museums increased by
3.6, 8.6, and 15.9 percentage points, respectively. Watching musicals and plays
on TV/VCR decreased significantly, by 6.5 and 15.1 percentage points, respec-
tively. The rank order of preferred art forms on TV/VCR among musical theater
attendees changed between 1982 and 1992. In 1982 their first choice was
watching plays (50.8 percent). In 1992, it was watching programs on artists/art
museums (55.1 percent). For both years, second choice was watching classical
music programs, and least favored was watching opera.
85
86 I American Participation in Opera and Musical Theater — 1992
TABLE B-1 . Arts Participation via TV
or VCR by
Selected Arts
Attendees, 1982 and 1992 (%)
Types of Arts on
TV or VCR+
U.S.
Adult
Populatio
Selected Arts Attendees
n Opera
Musical
Theater
Classical
Music
Jazz Plays
Ballet
Other
Dance*
Art
Museums
Opera
1982
12.0
54.7
23.8
35.1
19.7 26.8
29.0
25.8
1992
12.1
48.2
24.7
31.3
23.3 26.7
34.1
26.7
24.5
Musicals
1982
20.3
49.5
43.8
49.1
34.8 42.3
44.5
39.4
1992
16.9
48.2
37.3
39.3
32.0 37.1
40.1
35.1
32.7
Classical
1982
24.7
66.2
46.4
62.1
41 .4 48.4
59.2
48.8
music
1992
26.3
67.2.
50.0
64.8
47.8 50.5
58.3
50.0
49.7
Jazz
1982
18.1
36.0
30.7
37.6
51.1 31.5
38.7
33.1
1992
21.9
43.6
39.3
46.5
60.4 40.3
41.9
45.2
41.0
Plays
1982
25.9
64.7
50.8
56.4
46.6 57.4
60.9
50.9
1992
18.1
43.7
35.7
39.5
35.5 42.0
38.0
38.0
34.5
Ballet/
1982
16.3
56.5
34.1
46.6
36.0 37.7
57.0
36.5
Dance
1992
19.6
42.4
35.8
42.3
36.8 35.5
53.0
49.2
35.9
Artists/
1982
22.8
51.1
39.2
50.1
42.7 40.4
46.8
47.2
Museums
1992
32.2
57.5
55.1
62.3
59.4 55.4
58.7
60.5
59.7
*"Other dance" was not a category
in 1982.
+ //VCR" was not included
in 1982.
Although VCRs
existed, they were not in
widespreac
I use and the number of
videotape titles was quite limited.
Viewership has remained high over the years among arts attendees, especially
opera-goers. Changes in preferences between art forms may be a function of
shifting tastes and/or the availability of arts television programs and VCRs.
Arts Participation via Tapes/Records/CDs
Among Selected Arts Attendees
Arts attendees are more likely to listen to jazz, musicals, opera, and classical
music on tapes/records/CDs than is the general population. Among the general
population, changes in listening patterns between 1982 and 1992 were
negligible.
Appendix B — Additional Tables and Text I 87
TABLE B-2. Arts Participation via Tapes/Records/CDs by
Selected Arts Attendees, 1982 and 1992 (%)
1 1 c
Selected Arts Attendees
Types of Arts on Tap
Records/CDs+
u.s.
Adult
Population Opera
Musical
Theater
Classical
Music
Jazz
Plays
Ballet
Other
Dance*
Art
Museums
>es/
Opera
1982
7.4
45.2
16.0
25.3
11.6
19.7
28.9
_
17.0
1992
6.9
41.8
17.0
23.6
15.5
17.6
23.5
17.1
16.2
Musicals
1982
8.4
38.4
22.9
29.7
18.2
24.7
35.5
23.2
1992
5.7
24.3
17.9
19.4
16.0
18.1
19.6
15.5
14.8
Classical
1982
22.1
62.9
43.7
65.6
46.0
49.9
67.2
_
50.6
music
1992
23.8
63.1
49.4
63.2
50.0
51.3
63.8
49.3
49.2
Jazz
1982
20.2
27.4
33.2
38.1
65.5
40.0
48.0
37.4
1992
20.6
47.9
39.5
45.4
67.9
42.9
48.7
44.5
41.0
*"Other dance" was not a
category
in 1982
The media products for listening to the arts have changed during the 1 0-year period.
In 1982 records and cassette tapes were the mass media products available. In 1992,
tapes and CDs were the products available.
Opera attendees are tape/record/CD listeners. In both 1982 and 1992,
opera attendees were significantly more likely than their selected arts counter-
parts to listen to operas and musicals on tapes and CDs. In 1982 and 1992,
classical music was their preference (62.9 percent and 63.1 percent). Jazz was
the least listened to art form in 1982 (27.4 percent), and musicals had that
distinction in 1992 (24.3 percent). Between 1982 and 1992, fewer listened to
opera and musicals on tapes/records/CDs (down 3.4 and 14.1 percentage
points, respectively), while more listened to jazz (up 20.4 percentage points).
Musical theater patrons in both 1982 and 1992 were less likely in general
to be tape and CD listeners than were other selected arts attendees. In both
years, they were least likely to listen to opera (16 percent and 17 percent) and
most likely to listen to classical music on tapes/records/CDs (43.7 percent and
49.4 percent). Between 1982 and 1992, even among musical theater attendees,
listening to musicals decreased 5 percentage points, while listening to opera,
classical music, and jazz increased 1.0, 5.7, and 6.3 percentage points,
respectively.
Unlike the trend in TV/VCR watching, musical theater and opera attendees
in this 10-year period listened less to their respective art form on tapes/
88 I American Participation in Opera and Musical Theater — 1992
records/CDs. There was a significant drop in listening to musicals on tapes/re-
cords/CDs for all selected arts attendees. One wonders whether this pattern
reflects a preference for other types of media participation, such as TV/VCR
watching, or a decrease in recording products.
Consistently, listening to musicals on tapes/records/CDs has decreased
among the general population and among musical and opera attendees, while
listening to jazz has increased significantly. Since tapes, records, and CDs are
purchased by individuals according to their tastes, we must assume that this
pattern reflects a shift in consumer preferences, not availability.
Arts Participation via Radio by Selected Arts Attendees
Arts attendees are more likely to listen to the arts on radio than is the general
population. Between 1982 and 1992 among the general population, radio
listening increased for opera, classical music, and jazz (1.6, 10.9, and 10.1
percentage points, respectively) and stayed about the same for musicals and plays
(decreasing .8 and 1.0 percentage point, respectively).
Opera attendees both in 1 982 and 1 992 were most likely to listen to classical
music on the radio (58.8 percent and 71.5 percent), and least likely to listen to
plays (17.9 percent and 7.8 percent). The supply of plays is limited on the radio.
Between 1982 and 1992 radio listening to classical music and jazz increased
significantly among opera attendees (12.7 and 18.3 percentage points, respec-
tively), while listening to opera, musicals, and plays decreased (3.8, 7.5, and
10.1 percentage points, respectively).
Musical theater patrons, in both 1982 and 1 992, were least likely to be radio
listeners of all five art forms. In this sense they were the closest to the general
population of all the arts groups, though their radio listening rates were
significantly higher than those of the general population. They were most likely
to listen to classical music on the radio (38.1 percent and 58.2 percent) and least
likely to listen to plays (7.3 percent and 5.3 percent). Between 1982 and 1992,
listening to opera, classical music, and jazz on the radio increased (3.6, 20.1,
and 21.5 percentage points, respectively), while the decrease in radio listening
to musicals and plays was negligible.
In the 10-year period, listening to classical music and jazz on the radio
increased significantly among all the arts groups; these are the preferred arts for
radio listening. In general, listening to opera showed a negligible rise, while
listening to plays and musicals on the radio was down for all the arts groups.
The fact that this pattern holds for all the arts attendees suggests it is probably
a result of radio programming.
Appendix B — Additional Tables and Text I 89
TABLE B-3. Arts Participation via Radio by
Selected Arts
Attendees, 1982 and 1992 (%)
1 1 c
Selected Arts Attendees
Types of Arts on F
u.5.
Adult
Population Opera
Musical
Theater
Classical
Music
Jazz
Plays
Ballet
Other
Dance*
Art
Museums
tadio
Opera
1982
7.1
46.1
15.5
24.0
16.6
19.7
23.7
—
17.1
1992
8.7
42.3
19.1
28.9
18.7
20.6
26.1
18.6
18.7
Musicals
1982
4.3
23.2
8.6
14.9
7.8
11.9
13.9
12.0
1992
3.5
15.7
8.4
10.4
7.8
9.1
12.1
9.8
7.9
Classical
1982
19.9
58.8
38.1
55.7
41.3
44.6
52.0
44.0
music
1992
30.8
71.5
58.2
73.4
58.7
58.8
69.9
59.7
58.7
Jazz
1982
18.1
35.4
27.8
33.4
58.1
33.4
35.6
32.5
1992
28.2
53.7
49.3
54.8
75.7
51.7
56.5
53.8
51.1
Plays
1982
3.8
17.9
7.3
10.8
9.8
10.6
13.5
9.4
1992
2.8
7.8
5.3
31.8
6.9
7.2
8.0
8.4
6.5
*"Other <
^ance" was not a
category
in 1982.
Demographic Characteristics of Those Who Watch/Listen
to Opera and Musicals via Media
Table B-4 shows some subtle differences among the types of media preferred
for opera and musical theater. Those with higher education are more likely to
listen to opera and musical theater on the radio and on recordings than watch
it on TV/VCRs. The same is true for higher-income listeners of opera, but not
of musicals/operettas.
90 I American Participation in Opera and Musical Theater — 1992
TABLE B-4.
Demographic
Characteristics of Opera and
Operetta/Musical Theater Media Participants
t
1992 (%)
Watch/
Listen to
Watch/
Listen
Listen
Listen to
Listen Watch
Listen
Operetta/
to
Watch
to
Opera
to Operetta/
to
Musicals
Operetta/
U.S.
Opera
Opera
on
Opera Musicals
Operetta/
on
Musicals
Adult
on
on
Tapes/
on Any on TV/
Musicals
Tapes/
on Any '
U.S. Adult Populat
Population
TV/VCR
Radio
CDs
Medium VCR
on Ratio
CDs
Medium
ion
12.1
8.7
6.9
18.1 16.9
3.5
5.7
20.6
Of the percentage
of the adult U.5
>. popu
ation that watched/listened to various arts (shown
above), the breakdown according
to demographi
c factors
is shown below
'. For example,
of the
12.1%ofthepopu
lation that watched opera on TV or VCR, 44.4% are male and 55.6%
are
female.
Gender
Male
47.9
44.4
46.6
45.3
45.3 43.1
46.3
44.8
44.1
Female
52.1
55.6
53.4
54.7
54.7 56.9
53.7
55.2
55.9
Race
White
77.5
78.4
83.5
83.8
80.9 82.2
79.1
84.2
82.6
Black
11.2
10.2
7.6
5.9
9.2 9.2
7.6
5.8
8.5
Native American
0.5
0.7
0.3
0.2
0.5 0.8
0.4
0.3
0.7
Asian
2.6
2.9
2.5
4.3
2.7 2.5
4.3
4.2
2.6
Hispanic
8.3
7.8
6.1
5.8
6.8 5.3
8.6
5.6
5.5
Age
18-24
13.0
7.0
5.4
8.1
7.3 8.2
8.5
11.5
9.5
25-34
22.8
15.2
14.4
15.9
16.1 18.4
14.2
18.3
18.4
35-44
21.4
20.0
19.8
21.1
19.9 22.1
20.4
24.8
21.9
45-54
14.9
19.9
19.8
20.4
19.0 17.1
18.7
20.6
17.4
55-64
11.4
16.1
18.8
17.4
16.5 14.8
15.9
12.9
14.3
65-74
9.9
12.6
14.8
12.5
13.2 12.1
14.8
9.1
11.9
75+
6.6
9.3
7.0
4.6
8.1 7.3
7.5
2.8
6.6
Education
0-some high school 1 7.6
8.1
7.0
5.5
7.8 7.5
8.8
5.0
7.3
High school grac
37.3
24.7
22.7
20.2
25.8 28.7
22.0
17.6
27.7
Some college
21.0
27.0
23.1
25.6
25.7 25.7
22.2
23.8
24.8
College grad
14.0
17.9
19.9
22.6
18.8 20.0
25.0
24.9
20.5
Postgrad
9.7
22.3
27.3
26.1
22.0 18.1
22.0
28.8
19.7
Marital status
Married
58.8
60.0
62.8
62.1
60.5 60.7
59.1
59.0
60.2
Widowed
7.2
8.8
7.4
5.1
8.4 8.1
7.5
2.9
7.4
Divorced
8.7
9.3
8.9
8.9
9.2 8.9
9.1
8.5
8.9
Separated
2.9
2.3
2.4
2.5
2.5 2.2
1.7
1.1
2.1
Never married
22.3
19.6
18.5
21.4
19.5 20.0
22.6
28.6
21.4
Place of residence
Central city/SMSA 32.6
37.5
37.1
37.0
36.9 33.6
35.0
38.6
34.7
Suburbs/SMS A
45.0
46.6
47.6
49.1
47.1 46.8
49.6
47.6
46.6
Rural/non-SMSA
22.4
15.8
15.2
13.9
16.0 19.5
15.4
13.8
18.7
Appendix B — Additional Tables and Text I 91
TABLE B-4.
Demographic
Characteristics
of Opera and
Operetta/Musical Theater Media Participants,
1992 (%) (Continued)
Income*
U.S.
Adult
Population
Watch
Opera
on
TV/VCR
Listen
to
Opera
on
Radio
Listen to
Opera
on
Tapes/
CDs
Watch/
Listen
to
Opera
on Any
Medium
Watch
Operetta/
Musicals
on TV/
VCR
Listen to
Listen Operetta/
to Musicals
Operetta/ on
Musicals Tapes/
on Ratio CDs
Watch/
Listen
to
Operetta/
Musicals
on Any
Medium
$0-$ 14,999
25.2
18.4
15.8
12.9
17.7
17.7
19.2 13.6
17.5
$ 15,000-524,999 19.3
16.8
15.1
12.9
17.2
17.9
17.0 14.2
17.7
$25,000-$49,999 36.6
37.9
39.1
40.1
37.2
39.1
38.0 35.0
38.0
$50,000-$ 74,999 11.9
14.5
15.3
17.3
15.2
14.8
12.9 20.6
15.4
$75,000+
7.0
12.4
14.7
16.9
12.7
10.5
13.0 16.6
11.4
Note: Not all percentages add up
to 100.0% due to rounc
ling.
*About8.4%of th
ose in the survey did not answer the income q
jestion;
therefore caution should
be used with these figures.
Appendix C
Additional Tables on Personal Arts
Participation and Lessons/Classes
In the section of questions on personal or amateur participation, the 1982 and
1992 questionnaires differed markedly. (The 1982 questionnaire is repro-
duced in Arts Participation in America 1982—1992, Research Division Report
#27, prepared by Jack Faucett Associates, compiled by John P. Robinson,
National Endowment for the Arts, 1993; the 1992 questionnaire appears in
Appendix A of this monograph.) The five questions that were asked in 1982
about creating types of visual arts and doing creative writing were repeated in
1992. In the performing arts the questions included only activities that had a
public performance or rehearsal component.
92
Appendix C — Additional Tables I 93
TABLE C-1.
Amateur Arts Participation by Attendance at
Selected Arts Activities, 1982 (%)
Create . . .
Selected Arts Attendees
U.S. Adult Musical Classical
Population Opera Theater Music Jazz Plays Ballet
Art
Museums
pottery/ceramic?
jewelry/leather/
metal work
;/
12.3 21.4 16.7 19.6 19.5 17.7 18.4
21.5
weaving/
crocheting/
quilting/
needlepoint/
sewing
31.9 47.3 42.0 46.0 37.6 39.9 52.9
42.5
photographs/
movies/
videotapes
10.5 14.8 18.4 20.0 19.8 19.0 20.9
22.7
painting/
drawing/
sculpture/
printmaking
9.9 17.9 14.8 19.2 22.3 17.5 21.7
21.7
creative writing
(stories/poems/
plays)
6.5 13.8 12.5 17.4 22.3 17.6 23.6
15.9
Note: Amateur participation has no rehearsal, performance, or public display
component.
94 I American Participation in Opera and Musical Theater — 1992
TABLE C-2.
Amateur-Professional Arts Participation by
Attendance at Selected Arts Activities, 1982 (%)
Performance/
rehearsal of . .
U.S. Adult
Population
Selected Arts Attendees
Opera
Musical
Theater
Classical
Music
Jazz
Pla\s
Ballet
Art
Museums
a musical
instrument
3.9
6.1
5.5
8.5
8.5
6.5
7.0
5.8
jazz music
0.8
2.5
1.5
2.6
4.0
1.8
1.8
1.6
classical music 0.9
4.5
2.4
4.4
3.6
2.6
3.9
2.1
acting'singing^
dancing
4.6
11.8
8.6
11.9
10.8
10.3
12.3
8.3
opera
0.1
1.4
0.2
0.5
0.2
0.3
0.3
0.3
operetta/
musicals
0.9
3.9
2.5
3.6
2.1
2.8
2.7
1.8
a play
0.8
3.0
2.3
2.7
2.9
3.9
1.8
ballet
0.1
0.4
0.3
0.4
0.5
0.2
1.0
0.3
Tech work flights/sets/
costumes/promotion) in . .
-
opera/musical
play/ballet
2.8
6.8
8.4
10.5
8.4
10.8
10.0
6.9
jazz'classical
music
1.0
4.0
2.2
4.3
5.6
2.7
4.8
2.1
Note: Amateur-professional
displav component.
partici
pation in
eludes a
■ehearsal
performance, or public
Appendix C — Additional Tables I 9 5
TABLE C-3. Arts Lessons/Classen
; by Attendance
at Selected
Arts Activities,
1982 and 1992 (%)
Classes/lessons ever
U.S.
Adult
Population Opera
Musical Classical
Theater Music
Jazz
Plavs
Ballet
Other
Dance*
Art
Museums
taken in . . .
-1 982
music (either voice
training or an
instrument]
47.1 ;. s :
67.0
72.6
71.2
;.'r 8
71.2
*
71 :
acting or theater
9 _ 20.2
20.8
21.5
22.4
22.1
2€ ;
*
2C 5
ballet
7.2 17.6
16.2
17.3
19.2
17 B
41.5
*
16.4
visual arts (sculpture
painting, print makir
photography, film
making, etc.)
&
24.0 43.1
41.2
-: ;
50.4
44.2
53 5
*
48.7
creative writing
18.0 37.1
35 "
! :
42.9
40.7
45.0
*
art appreciation or
art history
19.5 47.7
37.8
42.8
41.0
-
48.1
*
43 ;.
music appreciation
20.5 43.3
40.0
43.6
41.5
42.9
48.2
Je
41.7
any type of art
58.4 81.6
81.3
r. 7
85.1
-1992
M 3
:': \
•
'A ':
music (either voice
training or an
instrument)
39.6 65.3
60.8
66.3
61.1
60.6
70.3
&5 -
i\ :
acting or theater
7.4 19.5
15.4
18.5
18.1
18.8
19.8
17.1
- i \
ballet
7.0 13.3
14.5
13.9
12.1
13.6
23.8
i -: ;-
12.9
other dance (tap,
modern, folk, etc.)
15.8 28.6
30.6
33.1
30.0
29.7
':': :
::- -
2" ;.
visual arts (sculpture
painting, print makir
photography, film
making, etc.j
&
1 7.6 2 ". :
32.5
34.8
35.9
32.9
35.5
";: -
35 1
creative writing
15.6 33.4
30.8
31.7
34.8
31.8
35 \
3 C 5
32.8
art appreciation or
art history
22.9 49.6
38.7
41.8
40.9
42.6
44.2
41.3
42.2
music appreciation
18.1 37.6
33.4
42.4
40.4
37.5
':': :
34.2
34.7
any type of art
57.4 86.6
82.2
85.2
84.0
34.2
M '-.
3C 5
*"Other dance" was
not included in 1982
survey.
Appendix D
Methodology and Measuring
Sampling Error
The following is excerpted (with minor changes to make it more applicable
to opera and musical theater) from Appendices F and G of Arts Participation
in America 1982—1992, prepared by Jack Faucett Associates, compiled by John
P. Robinson, Research Division Report #27, National Endowment for the Arts,
Washington, DC, October 1993.
Survey Methodology
Respondents in the survey were part of a larger continuously rotating panel
of respondents who were interviewed every six months over a three-year period.
These individuals lived in households selected by the U.S. Census Bureau to be
randomly representative of the total U.S. adult population 18 years of age and
older. Census Bureau population counts were used to draw the sample in such
a way that all individuals living in households in the United States had a known
and equal chance of selection. The sample frame was the same as that used in
the 1982 survey.
All individuals aged 18 and over in these households were eligible to be
included in the survey. Less than 20 percent of all eligible individuals in these
selected households could not be interviewed. The final data were weighted
slightly to ensure that the final sample was completely representative of the 1 992
U.S. population in terms of age, race, and gender.
About three-quarters of these interviews were conducted by telephone, the
remainder face-to-face in the respondent's home. Respondents who were not at
home at the time of the interviewer's visit were interviewed by telephone. No
effective differences have been generally found between these in-home inter-
views and telephone interviews. The interview took about eight minutes for the
first six months of 1992 (i.e., January through June) and about twice that long
in the second six months.
Each month's interview began with the survey's "core" questions, which
referred to general arts participation during the previous 12 months. A second
set of items about mass media usage then completed the interview. During the
96
Appendix D — Methodology and Measuring Sampling Error I 97
second six months, sets of questions were added about personal arts participa-
tion, leisure activities, lessons/classes in the arts, and items about arts attitudes.
The completed questionnaires were returned to the Census Bureau in
Suitland, MD, where they were edited for final keying onto a computer tape.
These coded survey answers were then merged with the coded data on each
respondent's background (e.g., age, education, race) obtained in the panel part
of the Census survey. These background data were then weighted to reflect U.S.
population characteristics and projected to the total U.S. adult population.
Measuring Sampling Error
Sample
Since survey estimates are based on a sample, they may differ somewhat
from the figures that would have been obtained if a complete census had been
taken using the same schedules, instructions, and enumerators. As in any survey
work, the results are also subject to errors of response and of reporting, as well
as being subject to sampling variability.
The estimates of standard error produced from the sample data are primarily
a measure of sampling variability (that is, of the variations that occur by chance
because a sample rather than the whole of the population is surveyed). The
estimates of standard error also partially measure the effect of response and
enumeration errors, but they do not measure, as such, any systematic biases in
the data.
Each estimate made from the survey process has its own variance and
resulting standard error. It is, however, impractical to compute an estimate of
the variance for every sample estimate. Therefore, variances are estimated for a
small subset of the sample estimates. These variances are then generalized to be
applicable to all estimates from each of the various aggregate estimates (e.g.,
percentage attending opera performances, percentage watching musical theater
performances on television, percentage taking music lessons).
The total error of an estimate involves a component, in addition to the
variability due to sampling, which is called non-sampling error. This component
is called the bias of the estimate. The bias is the difference between the average
of all possible samples (this average is conceptual since only one sample is used)
and the attempted value to be estimated.
This is a result of:
a. The types of estimates being produced (e.g., ratio estimate). These are
known to be biased but are preferable to certain other unbiased estimates
98 I American Participation in Opera and Musical Theater — 1992
because of the amount of reduction they bring to the variance of the
estimates.
b. Systematic errors in response. These can result from recall problems,
interviewer effect, questionnaire wording, etc.
c. Processing errors. These can result from duplication or omission of units in
the sampling frame, methods of adjusting for non-responses, coding, clas-
sification, and editing errors, etc.
The amount of bias cannot be directly observed and estimated. It is known
to exist, though, and during the survey process, efforts are made through design
and control operations to limit its effect.
Variance and Sample Errors for the SPPA
With respect to the sampling errors for the SPPA portion of the sample,
Table D-l shows first the theoretical sampling error for this size sample and
then the actual observed variation for a variety of SPPA questions. As shown in
this table, 3.3 percent of the SPPA '92 respondents said they attended a live
opera performance at least once during 1992, and 17.4 percent said they
attended a live musical theater performance. Using the theoretical mathematical
formula to compute sampling errors, one standard error for this sample size
(12,736) is
VO 033 * 967
' pp^ = .0016 or 0.16%
12,736
4
0.174 * .826
(musical theater) "\/ — ^ — = 00.33 or 0.33%
The population bounds for these questions for 95 percent confidence is
obtained by roughly doubling this interval of 0.16 percent for opera, or about
0.32 percent. This means that the 95 percent confidence level falls 0.32 percent
above and below the average estimate. For musical theater the interval is 0.33
percent, and the 95 percent confidence level falls approximately 0.66 percent
above and below the average estimate.
But that is the theoretical proportion for a completely random sample, and
SPPA respondents were chosen by clustered random sample. As noted above,
that means that clusters or segments of households (about four) in a neighbor-
Appendix D — Methodology and Measuring Sampling Error I 99
hood were chosen. Since people in neighborhoods may tend to share certain
characteristics (such as going to jazz or classical music performances), that raises
the possibility that the effective after-sample size is lower because of this
clustering due to the homogeneity of people who live in the same area.
Further clustering was introduced in the SPPA by interviewing more than
one member in a household, since persons who live together also share and
determine each other's activities to a greater extent than do people who share
space in the same neighborhood. Methods for measuring the effect of this
clustering (described as the design factor) are: (1) to treat the total sample as a
series of random samples of half size of the total sample; and (2) to observe how
much larger the sampling variance for this half-sample is than the theoretical
figure described here. In other words, the total sample of 12,736 would be
randomly divided into half-samples of about 6,360 respondents each, and the
variations in estimates for these half-samples would be compared to the variation
expected theoretically.
This was done [more discussion exists in Robinson's Appendix G] , and the
observed standard error is given in the table below. . . . The design factor for
the questions shown in the table have ratios that vary around 2.00; the overall
average design factor is 2.18, which is more than double the estimates from
simple random sampling. This design factor needs to be applied to the estimated
errors from simple random sampling.
100 I American Participation in Opera and Musical Theater — 1992
Table D-1 .
Sampling Error Calculations: 1992 SPPA Data
Theoretical
Benchmark
Sampling
Observed
Activities
Error
SE
Design
(n=1 2,736)
Rate:
(n=1 2,736)
(n=6,368)
Factor1
(t)2
Jazz
.106
.0027
.0053
1.96
(1.4)
Classical
.125
.0029
.0073
2.52
(1.6)
Opera
.033
.0016
.0032
2.00
(0.6)
Musicals
.174
.0033
.0090
2.73
(2.2)
Plays
.135
.0030
.0073
2.43
(1.7)
Ballet
.047
.0019
.0043
2.26
(0.9)
Art museums
.267
.0039
.0112
2.77
(2.4)
Other Arts Activities
Read books
.609
.0043
.0090
2.09
(na)
Read literature
.542
.0044
.0091
2.07
(2.4)
Historic sites
.407
.0043
.0111
2.58
(4.1)
Arts/crafts fairs
.345
.0042
.0104
2.48
(4.4)
TV Jazz
.209
.0036
.0057
1.58
(1.9)
Other Activities
(n=5940)
(n=2970)
Movies
.582
.0065
.0108
1.66
(2.8)
Sports events
.357
.0062
.0083
1.34
(2.9)
Like classical
.342
.0063
.0125
Average
1.99
2.18
(2.4)
Design Factor =
:(Des
ign Effect) * 1/2
Difference necessary
for the 1 982-
1992 t-value
to be statistically
significant at the
.05 level equals
1.96 *V(05E82
*2) +
(05E92 * 2)
where OSE is the observed standarc
error.
Notes
1. A list of the other 14 secondary analyses appears at the end of this monograph.
2. The 1992 survey questionnaire appears in Appendix A.
3. The 1982 survey had seven selected arts; it did not include "other dance."
4. Throughout this monograph percentages are shown with one decimal place to
minimize the frustration with percentages that do not add up to 100. This may
imply more accuracy in the numbers shown than is warranted. Many of the
categories in the questionnaire were activities in which only 1 or 2 percent of the
population participated. Furthermore, some questions were asked of only half the
sample, such as those related to leisure activities, arts classes/lessons, and personal
arts participation. Therefore, in a number of cases, when looking at a portion of a
category, the numbers get so small as to have increasingly questionable reliability.
Even when the percentages are relatively large, it is wise always to remember that
there is possible sampling error and to use any figure as an approximation. See
Appendix D on methodology and sampling error.
5. For every $100.00 spent on goods and services in 1982, $145.40 would be needed
to buy the same amount in 1992. To be equivalent, an income of $50,000 in 1982
would be $72,700 in 1992. An income of $25,000 in 1982 would equal $36,350
in 1992.
6. The 1992 questionnaire first asked whether one personally participated (e.g.,
"During the last 12 months, did you sing any music from an opera?"). This would
include everyone from those who sang for pleasure to those who sang professionally.
The followup question to "yes^ then asked, "Did you sing in a public performance
or rehearse for a public performance?" This would include both paid and unpaid
performances, professional or nonprofessional. The amateur-professional category
is a subcategory of amateur arts participation.
7. Some data on personal arts participation were collected in 1982. However, com-
parisons between 1982 and 1992 amateur arts participation are not informative,
as the 1982 questionnaire had 5 choices for amateur participation, while the 1992
survey had 14 choices, only 5 of which were comparable. The 1982 questionnaire
had 10 amateur-professional activities, while the 1992 survey had 14 choices. Only
6 activities are comparable. See Appendix C for 1982 data.
8. Percentages and rank order would vary in any survey depending on the number
and types of leisure activities delineated in the survey questionnaire. For instance,
the SPPA survey failed to ask about media watching/listening of nonartistic
programs. Surely, television watching of programs such as sitcoms, sports, news,
and movies would rank very high. Regardless of the data limitations, the arts, when
compared with other activities, rank as an extremely important part of the American
culture.
9. The desire to attend more selected arts is a partial measure of the desire to be more
involved in the arts. Individuals may desire to buy more art CDs or take piano
101
102 I American Participation in Opera and Musical Theater — 1992
lessons. Neither of these dimensions was included in the SPPA surveys. Thus, the
SPPA results underestimate the desire to be involved in the arts.
10. Percentage calculated by subtracting "none of the above" (28. 6° o) from 100%.
11. Information teceived from OPERA America, ~^~ 14th Street NW, Washington,
DC 20005. We wish to exptess our appteciation to Marc Scorco. Chief Executive
Officer, OPERA America.
12. There are two ways to calculate total attendance from the SPPA data. The simplet
way is to find the average number of attendances per attendee (fot opera = 1.694)
and multiply by the number of those who said they attended (6.08~ million). The
total is 10.311 million. For opera, this method creates the same figure as adding
up the weighted responses of number of performances attended (10.31 1 million).
13. The League of -American Theatres and Producers. Inc., Broadway Theatre and the
Performing Arts: Their Importance in American Life, 226 West 4""th Street, NY, NY
10036, March 28, 1992. We wish to exptess our appreciation to George Wachtel,
Director of Research at the League.
14. Ibid.
15. Ibid. League estimates based on Variety data.
16. Ibid. Theatte Communications Group, based on a survey of 184 out of 334
member theaters.
17. Ibid. National Alliance of Musical Theattes estimate based on member theatet
activity.
1 8. Ibid. American Dinnet Theatre Institute and National Dinnet Theatte .Association.
19. Sixty-seven percent of the total attendance minus 5 million in attendance at
Regional Musical Theattes, which we are assuming produce musicals exclusivelv,
is 31,265,682. Adding back 5 million in attendance at Regional Musical Theattes,
we get 36,265,682.
20. Thete are two ways to calculate total attendance from the SPPA data. The simplet
I to find the avetage number of attendances per attendee (fot musicals = 2.276)
and multiply by the number of those who said they attended (32.337 million). The
total is 73.60 million. This method creates a highet figure than adding up the
weighted data from the numbet of performances teported per respondent and
checking fot anomalies, such as those two respondents who said they attended 220
times and 602 times last year. A more appropriate figure calculated this way is
65.250 million attendance.
21 . League of American Theatres and Producers, Inc., Profile of the Broadway Audience,
1992.
About the Authors
Joni Maya Cherbo, Ph.D.. is a sociologist who specializes in the arts. She has
taught at a number of universities and has written extensively on various topics
pertaining to the arts. Her publications include coauthor) Arts Education
Beyond the Classroom I American Council for the Arts, 1 988) and "A Department
of Cultural Resources: A Perspective on the Art
and Law, Spring 1992). Dr. Cherbo has been a consultant for and has served
on the boards of arts institutions in New York City. Her abiding interest is
advancing the state of culture in the United States.
Monnie Peters is a management consultant and researcher for the nonprofit
sector, specializing in arts and culture. Her areas of expertise include long-range
planning and feasibility studies, financial consulting, and research and data
collection projects. She has organized and chaired conferences and managed
research projects for such organizations as the National Endowment for the Arts,
the American Council for the .Arts, and the American .Association eums.
Her publications include Arts Organizations and the 198" Census of Service
Industries, a report for the Research Division of the NLA
Other Reports on the 1992 SPPA
The following publications report on various aspects of the IS : 2 Survey of
Public 7ir^dpation in the Aits -~:ormation regarding availability may be
obtained b ri tin g :o the National Endov ment fot ill e An s Rese arch Division.
1100 Pennsylvania Avenue, N.W., Washington, DC 2 [ ^06.
Age Factors v\ A fi Participation, Richard A. Peterson and Darren E. Sherkat
American Participation in Dance, Jack Lemon/Jack Fan c ett As s : c . i:
~s.-- ■ . '.-■-. Inris ^irurr. .AN IS Planning and Research
Americans' 'Personal Participd: tht Arts, Monnie Peters and Joni Mava
~nerbo
.- i .' . .' ~ . •;.■-"■.' z: ::r Tertre y Love and Bramble C. Klipple
Arts Participation by the Baby Boomers, Judith Huggins Balfe and Rolf Meyer-
Cross-Over Patterns in Arts Participation^ Richard J. Orend and Carol Keegan
Effects of Education one . ts Fducatu .: Participation in the Arts,
_ : _.: E -:z r_z; ir.c — i Mrim
Hold the z March The f Classical Mm Appreciation in the US
Jazz in America: Who s Liste Scott DeVeaux
Patterns of Multiple . - to Pm to : r Jc ~: ey Love
Beading in the 1990s: Turning a Page or Closing the Bo: b£ Nicholas Zill
Socialization in the Arts — 1992, Richard J. Orend and Carol Keegan
and - jn: Public Participation in the Arts via Media in the
'. - '"-:. Shades M. Gtay
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II
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national
endowment
forWJ^the
ARTS
Seven Locks Press
Carson, California
ISBN
0-929765-
-38-9
1 511
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929''765
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