Arts Participation in America:
1982-1992
Prepared by:
Jack Faucett Associates
Compiled by:
John P. Robinson
Professor of Sociology
University of Maryland
October 1 993
Research Division Report #27
NATIONAL ENDOWMENT FOR THE ARTS
Arts Participation in America:
1982-1992
Prepared by:
Jack Faucett Associates
Compiled by:
John P. Robinson
Professor of Sociology
University of Maryland
October 1 993
Research Division Report #27
NATIONAL ENDOWMENT FOR THE ARTS
Library of Congress Cataloging-in-Publication Data
Arts participation in America : 1982-1992 / Jack Faucett Associates :
compiled by John P. Robinson.
129 p. 28 cm. ~ (Research Division report : 27)
"November 1993. "
1. Arts audiences— United States. 2. Arts surveys—United States.
I. Robinson, John P. II. Jack Faucett Associates. HI Series:
Research Division report (National Endowment for the Arts. Research
Division) : 27
NX220.A78 1993
700\973'09048--dc20 93-31039
cn>
TABLE OF CONTENTS
Chapter Page
EXECUTIVE SUMMARY i
Sponsorship and Conduct of the Survey i
Principal Findings i
I. Participation through Live Attendance i
Live Audience Attendance in 1992 by Arts Activity i
Differences between 1992 and 1982 Attendance Rates ii
Demographic Factors and 1992 Attendance Rates iii
Differences Between 1992 and 1982 Demographic Correlates iv
II. Participation through Broadcast and Recorded Media iv
Participation Via Media in 1992 by Arts Activity iv
Differences between 1992 and 1982 v
Demographic Correlates of Participation through Broadcast and Recorded
Media: 1992 and 1982 v
III. Participation in the Arts through Personal Performance and
Creation vii
Comparisons of the Different Types of Arts Participation viii
Comparisons of Participation in the Arts with Participation in Other
Leisure Activities viii
Attitudes towards the Arts ix
Summary ; ix
FOREWORD xi
Purpose xi
History xi
Data Collection xii
Outline of the Questionnaire xii
Survey Methodology xiii
Differences in Questions Asked xiii
Using the Data in this Report xiv
Data Tabulations and Projections xv
Organization of the Report xv
TABLE OF CONTENTS -- (Continued)
Chapter Page
CHAPTER I. ATTENDANCE AT LIVE ARTS PERFORMANCES/EVENTS . . 1
A. General Attendance 1
1. 1992 Attendance Levels 1
2. 1992 Frequencies of Attendance 3
3. Trends in Attendance Levels: 1982-92 4
B. Demographic Differences in Attendance Levels 7
1. Attendance Characteristics: 8
2. Audience Demographics for the Benchmark Arts Activities 10
3. Trends in Arts Attendance by Demographic Factors: 1982-92 .... 19
CHAPTER II. ARTS PARTICIPATION THROUGH BROADCAST AND
RECORDED MEDIA 25
A. General Usage of Broadcast and Recorded Media Arts Programming ... 25
1. 1992 Arts Participation Levels Via Broadcast and Recorded
Media 25
2. 1992 Viewings of Arts Activities on Video 27
3. Trends in the Usage of Media for Arts Content: 1982-1992 28
B. Arts Media Audiences by Demographic Factors 32
1. 1982 and 1992 Demographic Differences in Arts Media
Participation 33
2. Readings of Poetry and Novels 34
CHAPTER III. PERSONAL PARTICIPATION IN THE ARTS 35
A. Personal Performances and Arts/Crafts Activities 35
1. 1992 Personal Participation in the Arts 35
2. 1992 Demographic Differences in Personal Arts Participation .... 37
3. Changes in Personal Participation in the Arts Across Time 38
B. Art Classes and Lessons 40
Demographic Differences in Participation in Arts Classes 41
li
TABLE OF CONTENTS - (Continued)
Chapter Page
CHAPTER IV. COMPARISONS OF TYPES OF ARTS PARTICIPATION ... 42
A. Different Types of Arts Participation: 1992 42
B. Participation in Other Leisure Activities 44
1 . Comparison of Arts Participation to Participation in Other Leisure
Activities 45
2. Demographic Differences in Participation in Other Leisure
Activities 46
CHAPTER V. ARTS ATTITUDES AND PREDISPOSITION TO THE ARTS . 47
A. Interest in Increased Attendance 47
Demographic Differences in Increased Interests in Arts Attendances .... 48
B. Music Preferences 48
Demographic Differences in Music Preferences 50
C. Parental Education 51
CHAPTER VI. RELATED RESEARCH 52
Insights from 12 Local Arts Participation Surveys 52
CHAPTER VII. SUMMARY AND CONCLUSIONS 54
A. Major Results 54
1. Attendance at Live Arts Performances/Displays 54
2. Media Audiences for Arts Programming 55
3. Personal Arts Participation 56
4. Arts Attitudes 57
B. Conclusions 58
APPENDIX A:
APPENDIX B:
APPENDIX C:
APPENDIX D:
APPENDIX E:
APPENDIX F:
APPENDIX G:
APPENDIX H:
LIVE ATTENDANCE ITEMS
MEDIA ATTENDANCE ITEMS
PERSONAL PARTICIPATION ITEMS
OTHER LEISURE ACTIVITY ITEMS
ARTS ATTITUDES ITEMS
SURVEY METHODOLOGY
MEASUREMENT OF SAMPLING ERRORS
AREAS FOR ADDITIONAL RESEARCH
in
LIST OF TABLES
Table Page
TABLES IN EXECUTIVE SUMMARY:
I: 1992 LIVE ATTENDANCE LEVELS FOR VARIOUS ARTS ACTIVITIES ... ii
II: 1992 RATES OF ARTS PARTICIPATION VIA BROADCAST AND
RECORDED MEDIA v
III: 1992 PERSONAL ART PARTICIPATION LEVELS vii
IV: PARTICIPATION IN LEISURE ACTIVITIES ix
TABLES IN CHAPTERS:
1.1
1.2
1.3
1.4
1.5
1.6
1.7
1.8
1.9
1992 ATTENDANCE LEVELS FOR VARIOUS ARTS ACTIVITIES 2
1992 FREQUENCIES OF ATTENDANCE 3
1992-82 DIFFERENCES IN ATTENDANCE RATES 5
1992-82 DIFFERENCES IN TOTAL NUMBERS OF ATTENDERS 7
1992 ATTENDANCE RATES FOR ANY BENCHMARK ART ACTIVITY
BY DEMOGRAPHIC GROUP 9
1982-1992 CHANGES IN ATTENDANCE RATES BY EDUCATION 21
1982-1992 CHANGES IN ATTENDANCE RATES BY INCOME 21
1982-1999 CHANGES IN ATTENDANCE RATES BY AGE 22
1982-1992 COHORT DIFFERENCES rN ARTS ATTENDANCE TRENDS ... 23
II. 1: 1992 RATES OF ARTS PARTICIPATION VIA BROADCAST AND
RECORDED MEDIA 26
II.2: 1992 POPULATION ESTIMATES OF BROADCAST AND RECORDED
MEDIA ARTS AUDIENCES 27
II.3: 1992 ESTIMATED NUMBER OF VIE WINGS OF ARTS PROGRAMS
ON VIDEO 28
II.4: 1982-92 DIFFERENCES IN USAGE OF BROADCAST AND RECORDED
MEDIA FOR ARTS RELATED CONTENT 29
IV
LIST OF TABLES - (Continued)
Table Page
II.5: 1982-92 PERCENTAGE CHANGES IN THE SIZES OF ARTS
MEDIA AUDIENCES 32
III.l
III.2
III.3
V.l
V.2
V.3
1992 PERSONAL ARTS PARTICIPATION LEVELS 36
CHANGES IN SELECTED PERSONAL ARTS PARTICIPATION RATES ... 39
LIFETIME PARTICIPATION IN ARTS CLASSES/LESSONS 40
IV. 1: 1992 ARTS PARTICIPATION RATES BY TYPE OF PARTICIPATION ..... 43
IV.2: PARTICIPATION IN LEISURE ACTIVITIES 44
DESIRE TO ATTEND MORE ARTS PERFORMANCES 47
MUSIC PREFERENCES 49
HIGHEST EDUCATIONAL ATTAINMENT OF PARENTS 51
LIST OF FIGURES
Figure Page
FIGURES IN EXECUTIVE SUMMARY:
I: General Attendance Rates for Benchmark Arts Activities: 1982
to 1992 iii
Ila: Arts Participation Through Television: 1982-1992 vi
lib: Arts Participation Through Radio: 1982-1992 vi
He: Arts Participation Through Recordings: 1982-1992 vi
FIGURE IN CHAPTERS:
1 General Attendance Rates: 1982-1992 6
2 1 992 Attendance at Jazz Performances 11
3 1992 Attendance at Classical Music Performances 12
4 1992 Attendance at Opera Performances 13
5 1992 Attendance at Musicals 14
6 1992 Attendance at Plays 15
7 1992 Attendance at Ballet Performances 16
8 1992 Attendance at Art Museums 17
9 1992 Participation in Literature Reading 18
10 Differences in Attendance Rates by Gender 19
1 1 Differences in Attendance Rates by Race 20
12 1982-92 Trends in Media Participation: Television 30
13 1982-92 Trends in Media Participation: Radio 30
14 Arts Participation Through Recordings 31
vi
EXECUTIVE SUMMARY
Sponsorship and Conduct of the Survey
This report describes the initial analysis of results from the 1992 nationwide Survey of Public
Participation in the Arts (SPPA). The survey was funded by the National Endowment for the
Arts and conducted by the U.S. Bureau of the Census. The data described in this report were
collected in household surveys as part of a larger national survey which used revolving panels
of approximately 1,000 adult (over age 18) Americans who were interviewed each month in
1992. The total sample size was 12,736. About three-quarters of the interviews were
conducted by telephone, and one quarter of the respondents were interviewed face-to-face in
their homes. The response rate was above 80 percent.
The interviews during the first six months of 1992 averaged about eight minutes and covered
both attendance at live arts events and participation in the arts by means of broadcast and
recorded media. The interviews during the second six months lasted 7-10 minutes longer and
asked additional questions about personal arts participation, by performing or creating, as well
as questions about arts attitudes and about participation in other leisure activities.
Most of the questions in the 1992 SPPA had been asked in similar surveys in 1982 and 1985,
and this report shows comparisons of these responses over the decade. New questions in the
1992 SPPA concerned use of video cassette recordings (VCR), various dance forms other than
ballet, and different types of popular music. In general, the 1992 questionnaire asked more
varied and detailed questions about arts participation.
Principal Findings
I. Participation through Live Attendance
Live Audience Attendance in 1992 by Arts Activity
All SPPA'92 respondents were asked whether they had participated, by attendance, in each of
1 1 arts activities during the previous 12 months. Table I shows the attendance rate, total
audience, and total number of attendances in decreasing order of audience size. The
respondents' rates of attendance were multiplied by the U.S. adult population in mid- 1992
(185.8 million) to obtain the total audience size for each arts activity. The total number of
attendances for each activity was estimated by multiplying the average number of attendances
per respondent for each activity by the respective audience size.
TABLE I: 1992 LIVE ATTENDANCE LEVELS FOR VARIOUS ARTS
ACTIVITIES
Arts Activity
Attendance Rate
(Percentage)
Estimated
U.S.
Audience*
(Millions)
Total
Number of
Attendances
(Millions)
Opera (B)
3.3
6.1
10.4
Ballet (B)
4.7
8.7
14.8
Other Dance
7.1
13.2
39.6
Jazz (B)
10.6
19.7
57.1
Classical Music (B)
12.5
23.2
60.3
Plays (B)
13.5
25.1
60.2
Musicals (B)
17.4
32.3
74.3
Art Museums (B)
26.7
49.6
163.7
Historic Parks
34.5
64.1
243.6
Art/Craft Fairs (B)
40.7
75.6
204.1
Reading Literature
54.0
100.3
NA
Computed by multiplying the attendance rate by the U.S. adult population (185.8 million).
NA Not applicable.
B Benchmark activities.
Differences between 1992 and 1982 Attendance Rates
Figure I shows the changes between 1982 and 1992 in the seven arts activities established as
"benchmark activities" in 1982. The largest change in attendance rates (1992 rate minus 1982
rate) was an increase of 4.6 percentage points in attendance at art museums and a decrease of
4.5 percentage points in attendance at historic parks. These changes in percentages of
attendance were statistically significant and were equivalent to differences in audience sizes
of more than 8 million adults in 1992. A non-significant increase of 1.6 percentage points for
plays was offset by a decrease of 1.2 percentage points for musicals. Attendance rates for
ballet increased from 4.2 percent to 4.7 percent, and attendance for opera increased from 3.0
to 3.3 percent. Attendance at arts/crafts fairs increased by 1.7 percentage points. Reading
literature (novels, short stories, poems, or plays) decreased by 2.9 percentage points, but the
question in 1992 was different from the question in 1982. Table 1.3 in Chapter I presents the
complete data for 1982, 1985, and 1992.
u
30
25
CL>
Q_
■i 20
15
01
g 10
5
GENERAL ATTENDANCE RATES
FOR BENCHMARK ARTS ACTIVITIES:
1982 to 1992
i
m 1982
D 1985
■ 1992
Opera
Ballet
Jazz
Classical
Music
Plays
Musicals Art
Museum
Figure I
Overall, more than 41 percent of American adults reported that, during the preceding year, they
had attended at least one of the seven benchmark arts performances/events shown in Figure I.
In 1982 these seven arts performances/events were established as benchmark activities, to be
used for comparison in later surveys. In 1982, and again in 1985, this overall participation
index in benchmark activities was 39 percent.
Demographic Factors and 1992 Attendance Rates
Variations in attendance rates by five demographic variables — gender, race, age, education,
and income — were examined to identify major determinants of attendance. Attained level of
education clearly was the strongest predictor of attendance at arts performances/events. As was
the case in 1982 and 1985, the higher the level of education, the higher the attendance rate for
arts activities. High income also was a strong predictor of higher attendance, but in large part
due to its connection to education. Other differences among demographic groups include:
Attendance by women was slightly higher than attendance by men.
Attendance by middle-aged and younger adults was higher than attendance by
older people.
in
Attendance by white respondents was higher than attendance by black
respondents or other racial groups.
Figures 2 through 9 in Chapter I illustrate these demographic differences in attendance at arts
events.
Differences Between 1992 and 1982 Demographic Correlates
The conclusions concerning demographic differences in 1992 are much as they were in 1982.
Most changes were small and did not form regular patterns. Some differences between 1992
and 1982 were found in the relationship between income level and rate of attendance, but these
differences are difficult to interpret because of differences due to inflation. Thus, the survey
questions concerning income do not reflect increases over the decade in personal income, ticket
prices, transportation, or otner costs associated with attendance. Full data are reported in
Appendix A.4.
II. Participation through Broadcast and Recorded Media
Participation Via Media in 1992 by Arts Activity
In general, far more people come in contact with the arts through television, radio, and
recordings than by attendance at live performances/exhibitions. Table II shows the rates of
participation (attendance) through media for each of the seven arts activities and compares
them with the rates for live attendance. Rates of participation through television are higher
than live attendance rates for all arts activities, and rates of participation through radio are
higher than live attendance for jazz, classical music, and opera. Significant new participation
in the arts via video recordings was reported in 1992.
IV
TABLE n: 1992 RATES OF ARTS PARTICIPATION
VIA BROADCAST AND RECORDED MEDIA
Arts Type
TV
VCR
TV or
VCR
Video*
Radio
Recordings
Attendance
at Live
Performances
Jazz
21%
4%
22%
28%
21%
11%
Classical
Music
25
4
26
31
24
13
Opera
12
1
12
9
7
3
Musical
15
4
17
4
6
17
Play
17
3
18
3
NA
14
Dance T
19
2
20
NA
NA
10
Visual Arts
32
2
34
NA
NA
27
Entries under video refer to the proportion of respondents who used either TV or VCR.
T Question formats for media and for live attendance arc different The media question includes ballet, modem, folic,
and tap dance. The live attendance question combines two questions, one referring to ballet only and one to other dance.
Differences between 1992 and 1982
Between 1982 and 1992 the major increases in audiences for arts programming through
broadcast and recording media were in jazz (via television and radio), in classical music and
in opera (via radio), and in visual arts programs (on television). Significant decrease were
found in media audiences for musicals (via television and recordings) and for watching plays
on television. Participation rates for visual arts on television grew by 9 percentage points.
Total radio audiences increased by 10 percentage points for jazz and by 12 points for classical
music. Figure Il-a, Il-b and II-c show the participation rates for the three media in 1982, 1985,
and 1992. Table II.4 in Chapter II presents further details on these data.
Demographic Correlates of Participation through Broadcast and Recorded
Media: 1992 and 1982
The relationships between demographic factors and participation through the media generally
are the same as those for attendance at live events. Educational level again is the strongest
predictor of arts participation. Demographic groups that attend live performances and
exhibitions also are likely to watch and listen to broadcast and recorded presentations. In
general there are fewer demographic differences in arts participation through the media than
for participation via live attendance. Figures 14 through 16 in Chapter II illustrate the data.
Arts Participation Through Television
1982 to 1992
Figure Il-a
Jazz Classical Opera Musicals
Music
Plays
Visual
Arts
Arts Participation Through Radio
1982 to 1992
Figure Il-b
o *-
JL
WL
Jazz
Classical
Music
Opera
Musicals
Plays
■ 1982
□ 1985
W 1992
Arts Participation Through Recordings
1982 to 1992
Figure II-c
25
"5 20
15 -I
•i. 10
z s
I "I B I
Jazz
Classical
Music
Opera
i
Musicals
■ 1982
D 1985
M 1992
VI
III. Participation in the Arts through Personal Performance and
Creation
People also can participate in the arts by performing and by creating arts products, as well as
by taking lessons and classes in various arts activities. Table III shows the percentage of the
population that reported engaging in the performing arts and in arts and crafts activities in the
1992 survey. The two sets of columns show personal participation in private and in public
performances.
TABLE DI: 1992 PERSONAL ART PARTICIPATION LEVELS
Type of Participation
Participation Rate
Public Performance/Display Rate
Percent
Number
(Millions)
Percent
Number
(Millions)
Music/Art
Performances
Play Jazz
1.7%
3.1
.70%
1.3
Play Classical Music
4.2
7.8
.90
1.7
Sing Opera
1.1
2.0
.24
.40
Sing Musical
3.8
7.1
.73
1.4
Sing Choral
NA
NA
6.3
11.7
Act
NA
NA
1.6
3.0
Ballet
.2
.4
.03
.10
Other Dance
8.1
15.0
1.2
2.2
Art/Crafts
Pottery
8.4
15.6
1.7
3.2
Needlework
24.8
46.1
2.4
4.5
Photography
11.6
21.6
1.7
3.2
Painting
9.6
17.8
2.0
3.7
Creative Writing
7.4
13.7
.9
1.7
Composing 2.1
3.8
.7
1.3
While the rates of personal participation in the arts are much lower than the rates of
participation through attendance at live events, millions of American adults do personally
participate in the arts. Nearly 12 million people sing in public performances by choirs or glee
clubs; about 46 million people do needlework and 4.5 million people publicly display their
needlework. About 40 percent of SPPA 1992 respondents said that they had taken music
lessons at some time during their lives. The proportion who had taken art appreciation
VII
instruction was 23 percent, and rates of 16-18 percent were reported for instruction in visual
arts, dance, creative writing, and music appreciation.
There are differences in the reported rates of personal participation between 1982 and 1992,
but the absolute number of responses is small and changes in question format limit
comparability. A notable decline was found in the rate of personal participation in needlework,
pottery, and metal/leather activities. There also were notable declines between 1982 and 1992
in the proportion of respondents who had taken different types of arts lessons or classes at
some time in their lives. The proportion who had taken music lessons dropped from 47
percent to 40 percent. The proportion who had taken classes in painting and other visual arts
declined from 25 percent to 18 percent. The only increase was in the percentage taking art
appreciation classes, which increased from 20 percent to 23 percent. Detailed data on these
changes are shown in Table III.2 and Table III. 3 in Chapter III.
Comparisons of the Different Types of Arts Participation
There are patterns in the different forms of participation, though the personal performance
levels are far lower than the attendance levels. For example, for all three types of participation
the audience for classical music is consistently slightly higher than the jazz audience, which
in turn is larger than the audience for opera. For all three types of participation, the rates for
the visual arts - attendance at art museums and painting - are higher than the rates for stage
performances - opera, musicals, plays, and dance. However, among stage events the rank
order varies with the type of participation. Chapter IV gives further discussion of these
differences among types of arts participation.
Comparisons of Participation in the Arts with Participation in Other Leisure
Activities
One gauge of public commitment to the arts is the previously mentioned 41 percent of
respondents who reported attending any of the seven benchmark live arts activities. In 1992
this fraction was slightly larger than the 39 percent participation in 1982. Table IV shows the
reported participation rates in 1982, 1985, and 1992 for attendance at arts events and
participation in other leisure activities. While the participation rates in exercise, movies,
gardening, amusement parks, and home improvement activities were higher than the 41% rate
for the arts, the participation rates for active sports, sports events, outdoor activities, and
volunteer/charity work were lower.
VIII
TABLE IV: PARTICIPATION IN LEISURE ACTIVITIES
Activity
1982
1985
1992
Change from
1982 to 1982
Percent
Percent
Percent
Arts Participation*
39%
39%
41%
+2
Exercise
51
57
60
+9-
Movies
63
59
59
-4
Gardening
60
55
55
.5 •
Amusement Parks
49
45
50
+ 1
Home Improvements
60**
58**
48
NA
Active Sports
39
41
39
Sports Events**
48**
50**
37
NA
Outdoor Activities
36
37
34
-2
Volunteer/Charity
28
30
33
+5
TV Hours/Day
3.0
2.8
3.0
hours
Defined as attendance at one of the seven benchmark arts activities in Table I
Questions asked in 1982 and 1985 were different from questions in 1992.
Statistically significant at the 95% confidence level.
Attitudes towards the Arts
About 71 percent of the 1992 SPPA sample expressed an interest in attending more arts
performances and events. Increased interest was expressed for each of the seven benchmark
arts activities and was roughly proportional to current attendance at each activity. The interest
in attending additional events was especially high among those respondents who already had
attended arts events in the previous year. Respondents also showed increased liking for jazz,
classical music, opera, and show tune music.
Summary
Across the 1982-1992 decade more Americans in general participated in the arts through
attendance at live events, through broadcast and recorded media, and through personal
performance and creation. SPPA'92 has documented the following changes in the public's arts
participation over the decade:
IX
In 1 992, 4 1 percent of adults in the United States attended an arts performance
or exhibition during the previous year, in contrast to 39 percent in 1982 and
1985.
The attendance rate at art museums and galleries is up almost 5 percentage
points since 1982; total attenders approached 50 million for 1992.
Smaller, not statistically significant increases are found in live attendance at arts/
crafts fairs, jazz, and non-musical stage plays.
Audiences for opera, classical music and jazz programming on radio increased
by 49, 60, and 71 percent, respectively.
Almost 12 million American adults sing choral music in a public performance,
and 15 million are active in modern dance. Listening and watching via the
broadcast media goes along with increased attendance and personal performance.
Certain arts activities have not fared as well. Reading literature is down about
3 percentage points, and visits to historic parks/design sites is down 5 points.
TV audiences for musicals and plays are down 6-9 percentage points.
Public interest in increased attendance is up significantly for the seven
benchmark arts activities, and increases are found in the proportions of the
public who say they like jazz, classical, opera, and musical/operetta music.
FOREWORD
Purpose
This report summarizes the main findings and trends emerging from data collected from the
1992 Survey of Public Participation in the Arts (SPPA'92). The report first presents basic data
relating to public attendance in 1 1 different types of art performances and events: jazz, classical
music, opera, musicals, plays (non-musical), ballet, other dance, art museums, arts-crafts fairs,
and historical parks/design sites. Data used to describe participation in these various art forms
include demographic factors such as gender, race, age, education, and income.
In addition to data gathered from a regular schedule of live-attendance questions asked
throughout the year, questions were asked of all 12,736 respondents about media participation
in most of the arts activities listed above. Additional questions on arts socialization
experiences during childhood, on art classes or lessons taken, on music preferences, and on
other leisure activities were gathered in the second half of 1992.
These data are available on computer tapes, and copies can be obtained by contacting the
Research Division, National Endowment for the Arts, 1100 Pennsylvania Avenue, N.W.,
Washington, D.C. 20506.
History
As the most comprehensive national survey on arts participation, the SPPA surveys enhance
our understanding of who participates in which arts activities and how often. SPPA'92 builds
on the findings from two previous national surveys of arts participation: SPPA' 82 and
SPPA'85. Unlike other, earlier surveys of public participation in the arts in American life, the
1 982 SPPA articulated a standard definition of arts participation for particular arts activities
(e.g., opera and jazz). The SPPA surveys have also examined various modes of arts
participation: as performer, as audience member at live performances, or as user of the
broadcast and recorded media. The incompatibility of question wording and of procedures
employed in data collection across the various studies prior to 1982 limited their use in
identifying trends in arts participation over time. In addition, unlike prior telephone surveys,
which overrepresented the more educated and affluent portion of the population when
compared to personal interviews, SPPA surveys have achieved much higher response rates than
were obtained in such studies. As a result, the SPPA surveys have provided a more systematic
and definitive collection of arts participation data: one that can be both generalized to the
American population with suitable confidence and also replicated regularly to track trends in
participation.
XI
Data Collection
The SPPA'92 data were collected in household surveys conducted by the U.S. Bureau of the
Census as part of a larger national panel survey. About three-quarters of these interviews were
conducted by telephone. Face-to-face interviews were conducted in the respondents' home
with respondents who could not be interviewed by telephone. Respondents in non-telephone
households were interviewed in their homes. Each interview took about eight minutes to
complete during the first six months of 1992 (i.e., January through June), and 16 minutes for
the second six months.
Survey participants consisted of a cross-section sample of adult Americans (over age 18). The
Census Bureau interviewed approximately 1000 respondents per month in 1992, so that arts
participation data are available for 12,736 respondents.
Each month's interview began with questions about general attendance at arts performances
during the previous 12 months. A second set of items examined the extent to which arts
activities were experienced through the broadcast media. During the second half of the year,
the interview also included supplementary questions about personal arts participation,
socialization experiences, music preferences, desires for more arts participation, and
participation in other types of leisure activities.
The completed questionnaires were returned to the Census Bureau in Suitland, Maryland, where
they were edited for final keying onto a computer tape. These coded survey answers were then
merged with coded data on each respondent's background (e.g., age, education, race) that were
obtained in the panel part of the Census Bureau survey. These demographic data were then
weighted to reflect U.S. population characteristics and projected to the total U.S. adult
population.
The Census Bureau was selected to conduct these nationwide surveys because of its ability to
collect standardized data with minimal distortion due to respondent noncooperation or sampling
bias. Researchers from several arts organizations and universities consulted on the design and
execution of the study, which were based on results and conclusions from the 1982 and 1985
SPPA surveys.
Outline of the Questionnaire
The SPPA'92 questionnaire for January through June consisted of two types of questions: a
set of items on annual attendance at live arts events and a set of items that surveyed parallel
arts participation via the broadcast media of video, radio, and recordings. Appendix A. 1 shows
the attendance items, which include questions on the extent of annual attendance at arts
performances and events. Appendix B.l shows the media items. The questionnaire for the
second six months of the year also included supplementary sets of questions about personal arts
xu
participation, arts lessons/classes taken, other leisure activities, interest in attending more
artsevents, and music preferences. These items are shown respectively in Appendices C-E.
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 randomly selected by the U.S. Census Bureau to represent the total U.S. adult
population (18 years old or 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 essentially the same as that used in the
1982 survey.
All individuals aged 1 8 and over in these selected households were eligible to be included in
the survey. Less than 20% 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 1992 U.S. population in terms of age, race and gender.
Differences in Questions Asked
A main advantage of the 1 992 survey is its increased sample size for many of the questions
asked in the 1982 and 1985 surveys. This sample size advantage applies particularly in the
case of the questions dealing with the use of the broadcast media for arts programs or content.
Most of the questions in SPPA'92 were identical to questions asked in the earlier SPPA
surveys. However, there were also important differences and innovations in the 1992
questionnaire. While these differences expand our understanding of arts participation, some
of them limit comparability with the earlier surveys, and questions asked for the first time
cannot provide trend information. The changes in the questions asked in SPPA'92 are as
follows:
ATTENDANCE Inclusion of attending other dance performances
AT LIVE Asking annual number of attendances
ACTIVITIES Inclusion of reading books
Separate question for novels, poems, and plays
Inclusion of live/recorded poems and novels
BROADCAST Inclusion of VCR viewings for all benchmark activities
MEDIA AND Asking annual number of TV/VCR viewings
RECORDINGS Inclusion of other dance viewings (with ballet question)
X11I
PERSONAL Inclusion of composing music, dancing, and owning art
PARTICIPATION Inclusion of public performance/display of eight new arts forms
Inclusion of dance lessons besides ballet
Specific lessons in eight arts forms in the past year
Exclusion of youth sports in question on sports event attendance
ATTITUDES Inclusion of interest in attending more dance performances
Inclusion of ten new types of music in question of liking
Perhaps the most significant change was the collection of data on estimated numbers of
attendances in the previous year among those who had attended. This change allows analysis
of the extent of a respondent's participation and not just whether they may have happened to
attend one or two performances.
The innovations also included asking respondents about the number of books read and the
number of viewings of TV/VCR arts programs. Another media change was the inclusion of
listening to recordings on CDs as well as records and tapes.
Other significant changes included new questions on several forms of dance besides ballet,
such as modern dance, folk dance, and tap dance. These extended questions on dance involved
not only attendance at live performances, but media viewings, lessons taken, and interest in
seeing more performances. Two questions were asked concerning live performances, one on
ballet and one on other dance forms. All the dance forms were combined in one question
concerning participation through the broadcast and recorded media.
Certain new arts activities were explored for the first time. These included composing music,
owning art works, and listening to live readings of poetry and novels, along with taking art
lessons in the last year and displaying art objects or performing in art events during the past
year.
Using the Data in this Report
These SPPA'92 data can be used as a basis for identifying trends and for making policy-
relevant assessments of arts-related behavior in the United States. Such assessments include:
(1) determining if and how attendance is changing; (2) identifying activity patterns among
different segments of the population; (3) determining factors that seem to stimulate or inhibit
arts attendance; and (4) identifying the life styles and activity patterns of people who attend
arts performances and events.
Because the sample was chosen to be representative of the entire U.S adult population and a
high response rate was obtained, the results of the survey can be extrapolated to produce rather
precise projections of the number of adults who participated in each of several arts-related
activities. For example, the survey was designed to generate population estimates of the
xiv
number of people who visited an art museum, who attended an opera, or who listened to
classical music on the radio. Moreover, because of the size of sample, it is also possible to
derive useful population estimates of arts attendance rates by particular demographic groups
(racial groups, age groups such as those 60 or older, etc.).
Data Tabulations and Projections
The data presented in this report were generated from a master file tape from the U.S. Bureau
of the Census. The data were downloaded onto a personal computer for analysis by SPSSPC.
They are weighted to reflect 1990 Census Bureau data on sex, age and race. ,
The tabulations that are shown are based on respondents for whom a response to each question
was obtained. In other words, missing responses and "Don't know" responses are excluded.
For most of the core questions, then amounted to less than 0.5%. For many of the additional
questions, asked only in the longer questionnaire given in the July-December surveys, missing
data numbers exceeded 1% and came closer to 1.5% of all respondents. An initial analysis of
the respondents for whom such missing responses were obtained show them to be slightly
lower in participation in other arts activities, but not low enough to warrant counting them
simply as non-participants in the activity in question.
Thus, our calculations of participation rates in Chapters I-IV exclude respondents from whom
no participation data were obtained. That means that their participation rates are presumed to
be the same as the rest of the population. While that may result in slightly inflated estimates
of participation, it seemed a less arbitrary and misleading step than treating all non-respondents
as non-participants. Future analysts who prefer to use the latter strategy will therefore obtain
lower participation rates than reported here.
The reader will also notice that we have calculated the Chapter I attendance data on the basis
of three decimal places rather than two decimal places in most of the latter chapters. That is
because of the larger sample size basis for these questions - both in SPPA '92 and the earlier
surveys. Third and fourth decimal places are also used in Chapter III in estimating population
characteristics at or around 1% levels in order to show the magnitude of difference found for
these rare characteristics. That does not imply these estimates have that degree of precision.
Organization of the Report
The report is organized into seven chapters. Chapters I-III describe the results of the survey
by each of the three forms of arts participation by the respondents, namely:
Attendance at live arts performances and events,
Listening and/or watching arts programs through broadcast and recorded media,
• Personal arts performance or creative arts activity.
xv
Each chapter contains statistics of participation for seven benchmark arts activities for which
identical questions were asked both in 1982 and 1992. These activities are Jazz, Classical
Music, Opera, Musicals, Plays, Ballet, and Art Museums. The SPPA'92 also included
questions on dance forms other than ballet, on literature read, and on attendance at arts and
crafts fairs and historic parks/design sites. Chapter I presents information on participation in
these activities as well.
These analyses give particular attention to changes across the decade 1982-1992. Each chapter
also presents analyses of participation by the respondents' demographic background. These
factors include each respondent's
Gender
Race
Age
Education
Income
Demographic breakdowns are presented for the various arts activities in Appendices A-E, along
with comparisons between the 1982 data and the 1992 data on the public's participation in the
arts activities.
Chapter IV compares data on the public's arts participation with its participation in other
leisure activities and compares arts participation through attendance, through media, and
through personal performance. Chapter V presents data on the public's interest in increased
arts activity and presents information on music preferences. Chapter VI describes results from
related 1 992 surveys to show correspondences between the nationwide results and those found
within 12 diverse communities across the country. Chapter VII presents certain conclusions
and future steps in the analysis of the data. Appendices contain detailed tabular presentations
of data and the questionnaires used to collect the data.
XVI
CHAPTER I. ATTENDANCE AT LIVE ARTS
PERFORMANCES/EVENTS
This chapter describes public participation in the arts by attending live arts performances and
events. Section A covers general attendance levels for these various arts activities. Section
B discusses differences in attendance by different demographic groups. Many of the analyses
focus on the seven arts activities that were asked about identically in 1982 and 1992. For this
report we have designated these as "benchmark" activities to facilitate references to them.
These activities include performances of jazz, classical music, opera, musicals, plays, and
ballet, as well as display events at art museums and galleries. Reading literature is not
included as a benchmark activity because the question was changed in 1992, and because
reading does not involve attendance at a specific arts facility.
A. General Attendance
This section first presents the 1992 annual attendance rates for various arts activities. The
average frequencies of attendance are then given and used to produce national estimates of the
average number of annual attendances for each arts activity. Finally, 1982-1992 trends in
attendance are shown both in terms of changes in attendance rates and in terms of changes in
audience sizes. The questionnaire for these attendance items is given in Appendix A.l.
Related tables of data can be found in Appendices A.2 through A.4.
About 41% of all SPPA'92 respondents reported having attended, during the previous year, at
least one of the seven types of live arts activities designated as a benchmark from SPPA'82.
In tables 1.1 to 1.4 these activities are denoted by a "B". This overall attendance rate at arts
performances/events was slightly higher than the 1982 and 1985 overall attendance rates, both
of which were closer to 39%. Table 1.5 presents differences in this attendance rate by
demographic factors.
1. 1992 Attendance Levels
Attendance levels in 14 types of arts activities are arrayed in Table 1.1 in descending order of
their attendance rates. Column 2 shows the proportion of survey respondents who reported that
they had attended a performance of that type at least once during the previous year. The third
column translates these percentages into population estimates for U.S. audiences for each art
activity. These numbers should be interpreted as representing the total number of American
adults who attended the respective activity at least once during the previous year; when
multiplied by frequencies of attendance (Table 1.2), they reflect the total annual number of
attendances.
TABLE LI: 1992 ATTENDANCE LEVELS FOR VARIOUS ARTS ACTIVITIES
Arts Activity
Attendance Rate
(Percentage)
Estimated U.S. Audience*
(Millions)
Opera (B)
3.3
6.1
Ballet (B)
4.7
8.7
Reading Plays
5.9
. 11.0
Other Dance
7.1
13.2
Jazz (B)
10.6
19.7
Classical Music (B)
12.5
23.2
Plays (B)
13.5
25.1
Musicals (B)
17.4
32.3
Reading Poetry
18.4
34.2
Art Museums (B)
26.7
49.6
Historic Parks
34.5
64.1
Art/Craft Fairs
40.7
75.6
Reading Novels/Short Stories
52.1
96.8
Reading Literature"
54.0
100.3
Computed by multiplying the attendance rate by the U.S. adult population (185. 8 million).
(B) Benchmark Activity
"Literature includes any of play, poems, novels or short stories.
Attendance at Benchmark Arts Activities: It can be seen that the highest attendance rate
among the seven benchmark activities was the attendance rate at art museums: 26.7% of the
SPPA'92 respondents reported that they had visited an art museum or gallery at least once
during the previous year. The benchmark activities that had the lowest attendance rates were
ballet and opera: 4.7% and 3.3% respectively.
Other Arts Activities: SPPA'92 also collected data on several other arts-related activities:
reading literature in various forms as well as attendance at art/crafts fairs, historical parks, and
dance performances other than ballet. The highest participation rate out of all of the arts
activities occurred for reading literature, with 54% of the respondents saying they had read at
least one novel, short story, poem or play during the previous 12 months. At the bottom of
Table 1.1 it can be seen that this participation rate translates into more than 100 million adults
who read one of these forms of literature during the previous year. Among "other" arts
activities, the lowest attendance rate was in the "other dance" category; with 7.1% of the
respondents reporting that they had attended a dance performance other than ballet at least once
during the previous year.
2. 1992 Frequencies of Attendance
SPPA'92 respondents also were asked to estimate the number of times they had attended each
type of arts activity during the previous year. Averages of the responses to these frequency
questions (i.e., average number of attendances per attender) are shown in the second data
column in Table 1.2. In the case of jazz, Table 1.2 shows that people who attended jazz
performances during the previous year did so an average of 2.9 times (people who did not
attend a jazz performance not included in that average.)
TABLE L2: 1992 FREQUENCIES OF ATTENDANCE
Arts Activity*
Estimated
U.S. Audience
(Millions)
Average Number
of Attendances
Per Attender
Total Number
of
Attendances**
(Millions)
Jazz (B)
19.7
2.9
57.1
Classical Music (B)
23.2
2.6
60.3
Opera (B)
6.1
1.7
10.4
Musicals (B)
32.3
2.3
74.5
Plays (B)
25.1
2.4
60.2
Ballet (B)
8.7
1.7
14.8
Art Museums (B)
49.6
3.3
163.7
Other Dance
13.2
3.0
39.6
Art/Craft Fairs
75.6
2.7
204.1
Historic Parks
64.1
3.8
243.6
Activities are listed in their order of appearance on the questionnaire. Literature is not included because the information obtained
relates to the number of books read.
"Computed by multiplying the average number of attendances by the size of the respective annual U.S. audience
(B) Benchmark Activity
The last column in Table 1.2 shows the estimated total number of annual attendances for each
art activity. This number is calculated by multiplying the average number of attendances per
attender by the size of the respective annual audience, as estimated in Table 1.1. For example,
the 57.1 million annual attendances for jazz was obtained by multiplying 2.9 (average number
of attendances per attender) by 19.7 million (the estimated size of the annual U.S. adult jazz
audience).
The average number of annual attendances in Table 1.2 varies between 1.7 for opera and ballet
and 3.8 for historic parks; in the latter activity, almost three percent of the sample said they
visited such locations 10 or more times.
Note that the rank order of the number of attendances in Table 1.2 differs from the ordering
by attendance rate and audience size in Table LI. For example, even though the attendance
rate at historic parks is lower than the attendance rate at arts/crafts fairs, the total number of
visits to historic parks (243.6 million) is considerably larger than the total number of visits to
art/craft fairs (204.1 million). The reason for this reversal is that those who attended historic
parks estimated that they made more visits to such parks (3.8 on average) than those who
visited art/craft fairs (2.7 visits on average). Similarly, attenders of classical music concerts
estimated that they attended more of these concerts (2.6 on average) than those who attended
plays (2.4 on average), leading to more overall attendances at classical music concerts than
stage plays despite lower attendance levels in the population.
In this way, a smaller but more active audience for one arts activity can lead to a larger overall
number of total attendances for that arts activity. Unfortunately, it is not possible to compare
these volume-of-attendance (see Chapter VII) figures to previous SPPA surveys since these
frequency data were obtained differently in the earlier surveys.
3. Trends in Attendance Levels: 1982-92
Trends in attendance levels between 1982 and 1992 are presented in Table 1.3 and shown
graphically in Figure 1 . Of the ten activities that could be compared for trends, three showed
statistically significant changes since 1982: attendance at art museums/galleries increased
significantly, while attendance at historic sites and the reading of literature decreased
significantly. The 2.9 percentage point decline in the rate of literature reading is the largest
decrease in Table 1.3. The biggest overall change was the 4.6 percentage point increase in the
proportion of people who had visited an art museum.
TABLE L3: 1992-82 DIFFERENCES IN ATTENDANCE RATES
Arts Activity
Percentage Attending
Difference
1982
(n= 17,254)
1985
(n=l 3,675)
1992
(n=l 2,736)
Change from
1982 to 1992
Jazz(B)
9.6
9.5
10.6
+1.0
Classical Music (B)
13.0
12.7
12.5
-0.5
Opera (B)
3.0
2.6
3J
+0.3
Musicals (B)
18.6
16.6
17.4
-1.2
Plays (B)
11.9
11.6
13.5
+ 1.6
Ballet (B)
4.2
4.3
4.7
+0.5
Art Museums (B)
22.1
21.9
26.7
+4.6**
Other Dance
NA
NA
7.1
NA
Art/Craft Fairs
39.0
40.0
40.7
+1.7
Historic Park
37.0
36.0
34.5
-2.5**
Reading Literature*
56.9
56.1
54.0
-2.9* •
Care should be taken in comparing these percentages because a new question format was used in 1992. In 1992 separate questions were
asked about reading plays, poetry, or novels and short stories. A positive response to any of these questions was interpreted as 'reading
literature." In 1982 only one question was asked about all four types of literature. Also note that comparisons cannot be made across the
different types of literature because separate questions were not asked in the 1982 and 198S SPPA surveys.
"Statistically significant at the 95% confidence level. (Significance test calculations are shown in Appendix G)
(B) Benchmark Activity
NA Data not available
Though not statistically significant, attendance at plays increased by 1.6 percentage points.
This increase was to some extent offset by the decline (not statistically significant) of 1.2
percentage points in attendance at musical stage plays. Thus, the sum of the percentages for
musicals and plays (i.e., both types of theater) changed little over the time period.
There was no statistically significant change in the proportions of people who attended jazz,
classical music, opera and ballet performances. Comparisons of the SPPA'92 data with the
SPPA' 8 5 data indicate similar conclusions and trends.
These changes can be seen more clearly in Figure 1, which displays the Table 1.3 data for the
benchmark activities in bar chart form. As can be seen in the chart, the biggest change was
in the attendance at art museums, which increased from 22.1% in 1982 to 26.7% in 1992.
30
25
■1 20
c
o>
5 15
Q_
o +J
GENERAL ATTENDANCE RATES
FOR BENCHMARK ARTS ACTIVITIES:
1982 to 1992
W 1982
□ 1985
■ 1992
Opera Ballet
Jazz Classical Plays Musicals Art
Music Museum
Figure J
Another perspective on these changes comes from examining the total population reach of these
arts activities across the decade. Table 1.4 shows changes in the estimated total number of
adults who attended arts performances in the previous year.
Since the adult population across the decade increased by 21.8 million people (from 164
million people in 1982 to 185.8 million people in 1992), it is possible for some arts audiences
to have actually increased in spite of stable or even declining attendance proportions. Thus,
if 10% attended a given type of arts event both in 1982 and in 1992, the number of attenders
would have increased from 16.4 million to 18.58 million. In the case of attendance at classical
music performances, Table 1.4 shows a rise of 9% in population terms - despite the 0.5
percentage point decline in the attendance rate given in Table II.3.
As shown in the last column of Table 1.4, attendance at every type of arts event increased in
population terms between 1982 and 1992. Attendance at art museums showed the largest
proportionate increase: 36.2 million people in 1982 compared to 49.6 million people in 1992 -
or an increase of 37%. The increase for opera was almost as large - from 4.5 million in 1982
to 6.1 million in 1992, an increase of more than 35%. In contrast, musicals and classical music
attendance increased by less than 10%. The number of visitors to historic parks showed the
smallest increase: 5.8%.
TABLE 1.4: 1992-82 DIFFERENCES IN TOTAL NUMBERS OF
ATTENDERS
Art Form
Number Attending
(Millions)
Percentage
Change *
_.
1982
1992
1982-92
Reading Literature
93.3
100.3
+7.3
Art/Craft Fairs
63.9
75.6
+ 18.3
Historic Parks
60.6
64.1
+5.8
Art Museums (B)
36.2
49.6
+37.0
Musicals (B)
30.5
32.3
+5.9
Plays (B)
19.5
25.1
+28.7
Classical Music (B)
21.3
232
+8.9
Jazz (B)
15.7
19.7
+25.5
Other Dance
NA
13.2
+NA
Ballet (B)
6.9
8.7
+26.1
Opera (B)
4.5
6.1
+35.6
(B) Benchmark Activity
The adult population increased from 164 million in 1982 to 185.8 million in 1992. an increase of 13.3%. Increases
below 13.3% indicate less audience growth than population growth across the decade
B. Demographic Differences in Attendance Levels
Variations in attendance rates by five demographic variables (gender, race, age, education, and
income) were examined to identify the major predictors of attendance at live performances/
events. Pronounced differences in the attendance rates at arts activities were found among
different demographic groups of the population.
As was the case in the 1982 and 1985 SPPA data, education clearly emerged as the strongest
demographic predictor of arts attendance rates (either considered independently or after
statistical adjustment for the other demographic variables). While income was also an
important predictor, its predictive power was weakened considerably when education and other
demographic factors were taken into account via statistical control. The main exception was
the notable higher attendance rate of the highest income group.
In examining overlapping arts audiences, certain pairings of arts attendances showed more
overlap than others: for example, opera and classical music. However, detailed analysis
revealed a general common pattern of high correlations across each of the eleven arts activities.
In other words, the data did not reveal distinct clusters of arts attendance that would suggest
that audiences for music, theater, dance or the visual arts were considerably different from one
another.
1. Attendance Characteristics:
The segmentation of the public attending the benchmark arts events followed a fairly regular
pattern. Thus, attendance at live arts events was:
Mainly related to a person's socioeconomic background, particularly in terms of
education, but also in terms of income;
• Higher among women than among men ;
Higher among middle-aged and younger adults than among older people;
Higher among white respondents than among blacks or other racial groups.
Many of the demographic differences disappear when the results are controlled for educational
level and gender, which are the most important predictors of arts participation.
Table 1.5 shows how the proportion (41%) of sample respondents who reported that they had
attended at least one of the seven benchmark art activities during the previous year varies by
demographic group. In the second column, the percentages are shown before being statistically
adjusted for the other five demographic factors. The third column presents the percentages
after the adjustments have been made. These numbers can be compared with 41%, the grand
mean for the entire sample.
The statistical adjustment procedure is called Multiple Classification Analysis (MCA)
[Andrews, et. al, 1973] and helps to separate the statistical effects of many variables that relate
to a "dependent" variable of interest (here arts attendance). For example, if higher arts
participation is found both among people with higher education and among people with higher
income, MCA determines whether the education differences are due to income or the income
differences are due to education. In effect, MCA acts to "make other things equal" in
determining which are the most effective predictors of participation.
TABLE 1.5: 1992 ATTENDANCE RATES FOR ANY BENCHMARK ART ACTIVITY BY DEMOGRAPHIC
GROUP
Demographic Group
Before Statistical
Adjustment
After Statistical
Adjustment
Differences from Overall
Sample Rate of 41% (CoL 2)
Overall Sample
41%
41%
(0%) 1
Gender
Male
40
38
-3
Female
42
43
+2
Race
White
42
41
Black
35
41
Other
37
32
-9
Age
18-24
42
44
+3
25-34
43
40
-1
35-44
44
39
-2
45-54
45
41
55-64
40
43
+2
65-74
37
45
+4
75-96
20
35
-6
Education
Grade School
8
13
-28
Some High School
15
18
-23
High School Graduate
30
31
-10
Some College
52
51
+ 10
College Graduate
66
64
-23
Graduate School
77
73
+32
Income
Under $5,000
23
32
-9
$5,000-9,999
23
34
-7
$10,000-14,999
22
31
-10
$15,000-24,999
36
39
-2
$25,000-49,999
44
42
+ 1
$50,000 +
65
53
+ 12
Not Ascertained
41
40
-1
Before MCA adjustment, it can be seen that women (42%) were slightly more likely to attend
a benchmark activity than were men (40%). Whites (42%) were more likely to attend one of
these art forms than were either blacks (35%) or other races (37%). The attendance rate for
benchmark activities remained rather constant across age groups until retirement years. The
attendance rate drops to 37% for those aged 65-74 and to 20% for those aged 75 and older.
Major and steady increases can be seen across education groups, with only an 8% attendance
rate among those with a grade school education compared to a 77% attendance rate among
those with a graduate degree. In the same way, low income groups show relatively lower
attendance rates than high income groups: less than 23% for those with less than $5000 annual
income compared to 65% among those with $50,000 or more annual income.
In the second data column of Table 1.5, it can be seen that, after MCA adjustment, women's
already slightly higher attendance rate increased somewhat, from 2 points higher to 5 points
higher than the attendance rate of men. Racial differences between blacks and whites became
smaller (from 7 points to points) after adjustment; however, the attendance rate of other races
was notably lower after adjustment. The 21 point lower attendance rate among people older
than 74 is almost entirely "explained" by the other factors (especially education); after MCA
adjustment, the 18-24 and 65-74 year old age groups have the highest attendance rate (44-
45%). Education differences were also reduced, from 69 points (77% vs. 8%) to 60 points
(73% vs. 13%). Income differences decreased from 42 points to 20 points when adjusted by
MCA for the other factors (particularly education).
In other words, MCA indicates that education is by far the most significant predictor of
attendance at live arts performances and events, followed by income differences (mainly
produced by those at the top of the income scale). Suburban residents and women attend arts
events at higher-than-average rates, while other races attend at lower-than-average rates given
their socioeconomic status. Age differences are particularly interesting because the above
average rate of attendance for those aged 25-44 becomes below average after taking the other
demographic factors into account.
These demographic patterns characterize most art forms, as will be seen in the analyses to
follow. Data for these analyses are given in Appendix A.2.
Audience Demographics for the Benchmark Arts Activities
This section describes the 1992 audience for each art form by demographic groups. Figures
2 through 8 illustrate the data. These data are not adjusted by MCA. The demographic
variables used include gender, race, age, education, and income. In general, the patterns
described are quite similar to those found in the 1982 data, which are shown in Appendix A. 3.
The demographic background data for all arts activities (benchmark as well as other activities)
are shown in Appendix A.
10
1992 Attendance at Jazz Performances
Gender
Male
Female
Race
White
Black
Other
□
Age
(Years)
18-24
25-34
35-44
45- 54
55-64
65 - 74
75 +
Education
(Years!
0-8
9 - 11
12
13 - 15
16
16 +
Income
($000s)
o- 5
6 - 10
11-15
16-25
26 - 50
50 +
NA
□
Figure 2
Gender:
Race:
Age:
Education:
Income:
Jazz was the only arts activity in which men were slightly more likely than women to attend live
performances.
Jazz was the only arts activity in which blacks had the highest level of attendance. Blacks were
most likely to attend jazz performances while people of other races had the lowest attendance rate.
In contrast to the other arts activities, attendance rates decline steadily as age increases, with the 18-
24 year old age group being twice as likely to attend jazz performances as those over 64.
Attendance at jazz performances increases steadily as education increases, with two noticeable
jumps. The attendance rate of respondents who had some college was more than three times as high
as the attendance rate of respondents who had only graduated from high school. There was also a
noticeable jump in attendance rates between respondents who had some college and respondents who
had graduated from college.
Attendance rates by income group showed noticeable changes occurring for two groups. The
attendance rate more than doubled between the $10,000-14,999 and $15,000-24,999 income groups
and there was a large jump between the next to the highest and the highest income groups.
11
1992 Attendance at Classical Music Performances
Gender
Race
i
^ge
Education
Income
(Years)
(Years)
($000s)
□
Male
□
White
m
18 - 24
□
0-8
n
0- 5
■
Female
■
Black
m
25- 34
■
9- 11
■
6- 10
s
Other
n
35- 44
12
sc
11 - 15
i
■
45- 54
Ha
13 - 15
■
16-25
in
55- 64
65-74
Di
16
16 +
II
26- 50
50 +
□
75 +
□
NA
Figure 3
Gender:
Race:
Age:
Education:
Income:
Women were about 20% more likely to attend classical music performances than men were.
The attendance rates of whites and other racial groups at classical music concerts were nearly double
the rates of blacks.
Attendance rates by age steadily increased with age in the early years, until peaking at the 45-54
year old age group and declining slightly for older age groups.
Differences in attendance rates by education were quite large. The attendance rate of those who had
a high school diploma was less than half that of those who had some college education. Differences
both between those with some college and those with a college degree and between those with a
college degree and those with graduate school each exceeded 10 percentage points.
Notable differences in attendances rates for different income groups were found between those who
made less than $15,000 and those who made between $15,000 and $50,000. The attendance rate of
those who made more than $50,000 was more than twice the attendance rate of those in the $25,000-
50,000.
12
1992 Attendance at Opera Performances
c
QJ
12
10
2 8
o
a.
3
C
a>
<_>
a>
Q_
2 ■
Gender
I I Male
Female
Race
I I White
H Black
HI Other
Age
(Years)
□ 18-24
25-34
35 - 44
45- 54
55 - 64
65- 74
Education
(Years)
□
0- 8
9-11
12
13 - 15
16
16 +
Income
($000s)
□
□ 75
□
0- 5
6- 10
11-15
16-25
26 - 50
50 +
NA
Gender:
Race:
Age:
Education:
Income:
Figure 4
Women were slightly more likely to attend opera than were men.
The attendance rate of blacks at opera concerts was only half the rates of whites and other races.
Attendance by age peaks at the 45-54 year old age group, after a progressive increase in attendance
rates among younger age groups, and shows a significant drop off after age 74.
A distinctive aspect of opera attendance was the higher attendance rate of those with graduate school
education, being considerably higher than in any other demographic category and nearly double that
for college graduates, the next closest attendance rate of any education group.
Opera attendance increased steadily with income, being almost four times as high among those with
more than $50,000 income as among those with less than $10,000 income.
13
1992 Attendance at Musicals
□
Gender
Male
Female
□
Race
White
Black
Other
□
□
Age
Education
(Years)
(Years)
18-24
□
- 8
25-34
■
9 - 11
35 - 44
n
12
45-54
■
13 - 15
55 - 64
n
16
65 - 74
n
16 +
75 +
Income
($000s)
□
0-5
6- 10
11 - 15
16-25
26 - 50
50 +
NA
Figure 5
Gender:
The 5 point higher attendance rate for female than male respondents in attending musicals was larger
than that found for other arts activities.
Race:
Although the" attendance rate of blacks was lower than the attendance rate for whites, it was higher
than the attendance rate for other races, a 'pattern unlike that found in most of the other arts
activities.
Age:
Education:
Income:
The attendance rates by age again peaked at the 45-54 year old age group and then declined steadily
for older age groups.
Differences in attendance rates by educational level were quite large. The rate nearly tripled
between those who had some high school and those who had graduated from high school and tripled
again for those with graduate degrees.
The attendance rate nearly doubled between adjacent income groups in two comparisons: between
those who made less than $15,000 per year and those who made between $15,000 and $50,000 per
year, and between those who made $15,000-50,000 per year and those who made more than $50,000
per year.
14
1992 Attendance at Plays
Gender
Race
□
Male
□
White
■
Female
■
Black
Other
Age
(Years)
(Z 1 8 - 24
■ 25-34
^ 35-44
B 45-54
Dl 55-64
^ 65-74
□ 75 +
Education
(Years)
n
- 8
9- 11
12
13 - 15
16
16 +
Income
($000s)
□
□
0- 5
6- 10
11 - 15
16-25
26 - 50
50 +
NA
Figure 6
Gender:
Race:
Age:
Education:
Income:
The attendance rate of females at plays was about 20% higher than the attendance rate of males.
The attendance rate of blacks at plays was slightly lower than the attendance rate of whites and
significantly higher than the attendance rate of other races.
The 45-54 year old age group again showed a higher attendance rate than either younger or older
age groups.
Differences in attendance rates across education groups were quite large, with three of the
differences across categories larger than 8 percentage points. Those with graduate school education
reported attendance rates over 5 times as high as those reported by high school graduates.
Differences in attendance rates by income appeared mainly among those who made over $50,000.
15
1992 Attendance at Ballet Performances
□
Gender
Male
Female
□
Race
White
Black
Other
Age
(Years)
□
18-24
25-34
35 - 44
45 - 54
55 - 64
65 - 74
75 +
Education
(Years)
D
- 8
9- 11
12
13 - 15
16
16 +
Income
($000s)
□
0-5
6- 10
11-15
16-25
26- 50
50 +
NA
Figure 7
Gender:
The attendance rate of females at ballet performances was almost 70% higher than the attendance
rate of males.
Race:
Age:
Education:
Income:
The attendance rate of blacks was less than half the attendance rate either of whites or of other races,
with other races having a higher attendance rate than whites.
The attendance rates by age differed from other art forms in that it was relatively constant across
age groups, until age 75, when it drops sharply..
Attendance rates by education groups showed significant differences, particularly between those who
were high school graduates and those with some college, and between those who had some college
and those who were college graduates.
The pattern of attendance by income was not as clear as it was for the other arts activities, with one
noticeable difference between those who made more than $50,000 per year and lower income groups.
16
1992 Attendance at Art Museums
Gender
Race
a
Male
□
White
■
Female
■
Black
Other
Age
(Years)
□
18 - 24
25- 34
M 35-44
fj§ 45-54
| 55-64
1 65-74
a 75
Education
(Years)
□
0- 8
9- 11
12
13 - 15
16
16 +
Income
($000s)
□
1
□
0- 5
6 - 10
11-15
16-25
26 - 50
50 +
NA
Figure 8
Gender:
Race:
Age:
Education:
Income:
Unlike most of the other arts activities, there was almost no difference in the attendance rate between
males and females.
There were noticeable differences in attendance by race, with the other races having the highest
attendance rate and blacks having the lowest attendance rate.
Unlike the "peak pattenr observed in most of the other art activities, fairly constant attendance rates
were observed for those between 18 and 54, falling off somewhat among those over age 54.
Differences in attendance by education were again quite large, particularly for those with less than
a high school diploma. Their attendance rate was less than a tenth the attendance rate of those with
a graduate school education.
Differences between those who made less than $15,000 and those who made between $15,000 and
$50,000 were quite large, approaching a factor of 2. Those who earned more than $50,000 also
exhibited significantly higher attendance rates.
17
1992 Participation in Literature Reading
Gender
[~1 Male
Female
Race
[~l White
■ Black
P^ Other
Age
(Years)
n
D
18-24
25-34
35-44
45- 54
55-64
65-74
75 +
Education
(Years)
m
0- 8
9- 11
12
13 - 15
16
16 +
Income
(sonnet
m
0-
5
m
6-
10
sss
11
- 15
Bl
16-
25
ID
26
- 50
H
50
+
u
NA
Figure 9
Gender:
Race:
Age:
Education:
Income:
Women were about 25% more likely than men to have read a novel, short story, poem, or play in
the previous year.
Whites were more likely than blacks to have read literature; blacks, in turn, were more likely to have
read literature than other racial groups.
Reading literature increases slightly with age until ages 35-44, and declines somewhat for older age
groups.
Reading literature increases steadily with each increased level of educational attainment.
Reading literature increases with each increased level of income, but not as notably as with increased
levels of education.
18
3. Trends in Arts Attendance by Demographic Factors: 1982-92
Attendance rates by demographic factors for the 1992 and 1982 data are presented in
Appendices A. 2 and A.3, respectively. The differentials in 1982-92 attendance rates by
different demographic groups are calculated in Appendix A.4. Only in rare instances did these
differentials exceed 10 percentage points; in most cases, they were less than 3 percentage
points. Moreover, many of the larger differences did not seem part of any larger overall trend.
The changes in attendance rate by gender and race are shown graphically in Figures 10 and 11.
The changes in attendance rate by age, education, and income involve too many categories to
present graphically. Data from Appendix A-4 for these factors are reproduced here as Tables
1.6, 1.7 and 1.8.
Differences in Attendance Rates by Gender
1982 to 1992
oo 6
CO
CJ A
O
a>
Oil
CO
« -2 \
:m
o
-4
-1
-2
■ Male
LJ Female
Jazz Classical Opera Musicals Plays
Music
Ballet Art
Museums
Figure 10
In the case of gender, the 1982-92 changes for men and women were not much different except
for the slightly greater increase in jazz and art museum attendance by men.
19
Differences in Attendance Rates by Race
1982 to 1992
10
-2 -2
7 7
□ White
■ Black
M Other
Jazz Classical Opera Musicals Plays
Music
Ballet Art
Museums
Figure 11
As Figure 11 shows, the changes in attendance over the 1982-1992 decade were greater for
blacks and other races than the changes for whites. Increases for blacks were largest for
attending museums, plays, and musicals. Respondents of other races showed increases in
attending museums, jazz, and classical music performances.
20
TABLE L6: 1982-1992 CHANGES IN ATTENDANCE RATES BY EDUCATION
Percentage Point Change
Education
Jazz
Classical
Music
Opera
Musicals
Plays
Ballet
Art
Museums
Grade School
+ 1
-1
+1
Some High School
-2
-1
-1
+ 1
High School Graduate
-1
-1
-1
-2
+ 1
Some College
-1
-4
-I
-5
-1
+2
College Graduate
+ 1
-6
-1
-8
-3
-1
+2
Graduate School
+5
-3
+2
-8
-1
-2
+4
Both the differences by education and income are interesting because they generally show more
negative than positive differentials. These differentials indicate attendance rates that are
generally below those of their counterparts with equivalent levels of education and income in
the 1982 study. In the case of education, this shows up for the slightly greater than average
declines among the college educated for attending classical concerts, musicals and plays. In
contrast, their attendance at jazz performances shows slightly more gain than less educated
groups in the 1992 sample. Overall, these negative entries in Table 1.6 suggest that attendance
did not increase as much as the increases in levels of education between 1982 and 1992 would
have led one to expect. That is, rather than a small increase or no change in arts attendance,
one should have expected more of an increase based on the generally higher level of education
in the 1992 public.
TABLE 1.7: 1982-1992 CHANGES IN ATTENDANCE RATES BY INCOME
Income
Percentage Point Change
Jazz
Classical
Music
Opera
Musicals
Plays
Ballet
Art
Museums
Under $5,000
-2
-4
+ 1
-2
-1
$5,000 - 9,999
-3
-3
-2
+ 1
+ 1
$10,000 - 14,999
-3
-4
-6
+ 1
-2
-6
$15,000 - 24,999
-1
-3
+ 1
-1
+3
$25,000 - 49,999
-6
+2
-10
+5
-2
+2
$50,000 +
+ 1
-8
+2
-10
-10
-1
+3
Not Ascertained
+ 1
-1
+4
+5
The prevalence of negative numbers in Table 1.7 is even greater for the factor of income than
for education, to some extent reflecting the effects of inflation on earnings (and arts ticket
21
prices) over the decade. In the case of attending performances of classical music, musicals, and
plays, that is particularly true for higher income groups since one can see larger negative
numbers for those earning more than $25,000 than for those in lower income groups. The
higher declines for attending classical music, musicals, and plays among respondents in these
top two income groups suggests a greater than average fall off in their levels of arts
participation. However, these analyses by income need to be adjusted using comparable
income categories across the decade, a difficult task given that the surveys used income
categories which are difficult to make equivalent over time.
TABLE 1.8: 1982 CHANGES IN ATTENDANCE RATES BY AGE GROUP
Age Group
Percentage Point Change
Jazz
Classical
Music
Opera
Musicals
Plays
Ballet
Art
Museums
18 -24
-6
-1
+2
-1
+3
+ 1
+6
25 - 34
-1
-3
-4
+3
35-44
+5
-4
-5
-2
-1
+3
45 - 54
+4
+2
+ 1
+4
+ 1
+7
55 - 64
+3
+3
+1
+4
+ 1
+5
65 - 74
+5
+2
+1
+2
+2
+ 1
+6
75 - 96
+ 1
-1
+ 1
+2
Most of the negative entries in Table 1.8 are in the age categories below age 45. That suggests
an important trend toward slightly lower participation in these younger age groups. Two points
need to be made about these differentials. First, they are not large and most are not statistically
significant. Second, they are often offset by gains in other arts activities. Thus, while 18-24
year olds do report declines (compared to their 1982 counterparts) in attending jazz
performances and in reading literature (relative to older population groups), they also report
above average increases in attending plays and art museums. Similarly, those aged 35-44 (the
first and oldest "baby-boom" cohort) reported above average gains in attending jazz
performances and a lower than average decrease in reading literature that offset their above
average declines in attending performances of classical music and musicals.
Thus, these data provide some support for the contention that the "baby-boom generation" is
declining in their levels of arts participation relative to older or younger age groups. It is true
that the 25-34 age group does show trends that are below average for many arts activities. But
these differences rarely amount to more than a few percentage points, and they are not
supported unequivocally by trends in the age cohorts immediately preceding or following them.
Moreover, it is not clear whether one should be as impressed by the declines in these younger
age groups as by the increases in the older age groups - particularly for those aged 65-74. This
group reports a 3 point increase in reading literature, as well as increases in attending jazz,
classical and musical performances that are above the national norm. Perhaps it is in contrast
to this active group of recent retirees that the trends in arts participation by baby-boomers seem
22
somewhat less active. (Unfortunately, with the lack of data on work hours in the study, it is
not possibly to examine whether this may have played a role in the lower gains by baby-
boomers or other younger adults.) A more detailed analysis of these age differences from a
cohort perspective follows.
Cohort Analysis: An alternative way to examine these age comes from a "cohort analysis" of
the data in Appendix Tables A.2 and A. 3. In the cohort perspective, one compares age groups
according to the year in which the respondents were born rather than according to their
chronological age. Thus we compare the 25-34 year old age group in 1982 with the 35-44
year old age group in 1992: in other words, with the same cohort of people who had aged 10
years across the period between the two studies.
Of particular interest in such a cohort analysis is the behavior of the "baby-boom" generation
born after World War II. This group shares several interesting characteristics: they are
numerically larger than other age cohorts, they are the first generation raised during the
television era, and they are currently in the busiest child-rearing and career stage of their life
cycle. For these reasons, they are seen as an important demographic segment for arts
participation. Concern has been raised that their lower arts participation may foretell a larger
decline in arts participation generally. In Table 1.9 we have used the age group 25-44 to
represent this cohort, given the age categories available for analysis. It should be noted that
in 1982, some of the baby-boomers, as defined by these age categories, were 15-17 years old
and, therefore, were not included in the 1982 SPPA.
TABLE 1.9: 1982-1992 COHORT DIFFERENCES IN ARTS ATTENDANCE TRENDS
(Percentage Point Change)
Cohort
Year Bom
(Age in 1993)
Jazz
Classical
Music
Opera
Musicals
Plays
i
Ballet
Art
Museum
Rerding
Literature
Post Baby-Boomers
1968-1974 (18-24)
NA
NA
NA
NA
NA
NA
NA
NA
Baby-Boomers
1948-1967 (25-44)
-3
-2
+ 1
-1
+2
+5
-4
Depression Era
1928-1947 (45-64)
+ 1
+ 1
-1
+2
+2
-2
Pre-Depression
1927 and Earlier
(65 and older)
+ 1
-1
-3
-1
-3
With respect to baby-boomers in Table 1.9, one finds a greater than average decline in jazz
attendance between 1982 and 1992: a 3 percentage point decline in contrast to a 1 percentage
point increase among older cohorts. Baby-boomers also showed a slightly higher decline in
attending classical music performances and reading literature than older cohorts. These
declines by baby-boomers are offset by the 5 percentage point increase in the number of visits
23
to art museums. The distinctive arts participation trends in Table 1.9 among baby-boomers are
less in terms of overall declines than in terms of the trade-offs they have made - from reading
literature and attending jazz and classical musical performances to attending art museums/
galleries.
Another interesting cohort in Table 1.9 are those in the latter years of retirement, the 65+ age
group. This cohort shows virtually no change (relative to the younger groups) in their levels
of arts participation as they have grown older, except for a slightly higher than average decline
in attending musicals. More detailed examination of the cohort data, however, reveals that this
lack of change is due to offsetting influences of somewhat increased participation by those
currently aged 65-74 and somewhat decreased participation by the cohort currently aged 75 and
older. At the same time, Table 1.8 shows no decline in participation by those aged 75 and
older in 1992 compared to their 1982 counterparts.
Further analyses of the age difference data may be performed as part of the research topics
described in Chapter VII.
24
CHAPTER II. ARTS PARTICIPATION THROUGH BROAD-
CAST AND RECORDED MEDIA
This chapter describes the audiences for arts programming through both broadcast and recorded
media. Section A discusses the size of the general media audiences and Section B
characterizes differences in the usage of these media for arts content by demographic group.
The questionnaire items are shown in Appendix B.l.
The 1982-92 decade saw many technilogical developments in broadcast and recorded media
that enhanced their quality and the variety of programming available. In addition to improved
loud speakers and sound technology, broadcast reception was improved by means of digital
technology. The development of compact disks also improved the quality of audio recordings.
Increased access to cable TV opened more opportunities for viewing arts programs on
television. Perhaps most significantly, the increased use of videocassette recorders (VCRs)
meant greater opportunity for repeated or extended viewings of arts programs that could be
played almost anytime the viewer wanted.
In response to this changing media environment, several new media questions were asked of
respondents in the 1992 SPPA and some of the questions used in previous SPPA surveys were
modified. The SPPA'92 survey contained additional questions about the viewings of arts
activities on VCR, and it also asked respondents about the number of viewings of arts activities
on VCR and television. In SPPA'92, the definition of dance used with the media items was
also expanded to include not only ballet but also modern, folk, or tap dance. These differences
between SPPA'92 and the earlier SPPA questions should be kept in mind when making
comparisons between the results of the different surveys.
A. General Usage of Broadcast and Recorded Media Arts
Programming
This section describes the public's involvement through media in various art activities. The
public's 1992 levels of usage of these media for arts programs is presented, along with an
analysis of how the levels have changed since 1982. These media use levels are also compared
with levels of attendance at live performances. Finally, data on the number of video viewings
of arts programs are presented.
25
1. 1992 Arts Participation Levels Via Broadcast and Recorded Media
The rates of participation in the arts via broadcast and recorded media are shown in Table II. 1.
For example, 22% of those surveyed reported watching a jazz performance on TV or VCR in
the previous year, 28% reported listening to jazz on the radio, and 21% listened to a jazz
recording. The second row in Table II. 1 shows that 26% of the respondents reported watching
classical music performances on video, 31% reported listening to classical music on the radio,
and 24% listened to a classical music recording. These numbers indicate rather similar media
audience sizes for the two types of music. The last column in Table II. 1, taken from Chapter
I, shows the comparable rates of attendance at live performances or exhibitions.
TABLE IL1: 1992 RATES OF ARTS PARTICIPATION
VIA BROADCAST AND RECORDED MEDIA
Art Form
TV
VCR
Either
TV or
VCR*
Radio
Recording
Attendance
at Live
Performances
Jazz
21%
4%
22%
28%
21%
11%
Classical
Music
25
4
26
31
24
13
Opera
12
1
12
9
7
3
Musical
15
4
17
4
6
17
Play
17
18
*>
3
NA
14
Dance"
19
2
20
NA
NA
10
Visual Arts
32
2
34
NA
NA
27
Entries refer to the proportion of respondents who used either TV or VCR.
Question formats for media and for live attendance are different. The media question includes ballet, modern, folk, and tap dance.
The live attendance question combines two questions, one referring to ballet only and one to other dance.
Arts audiences reached by the broadcast and recorded media are, for most art forms, larger than
the respective audiences who attend live performances. This is especially true for audiences
reached by TV and VCR for jazz, classical music, and opera. The audience reach of TV is
greatest in absolute terms for the visual arts (32%) and lowest for opera (12%) and musicals
(15%). VCR's are used primarily for jazz, classical music, and musicals.
In line with the format of most radio stations, the greatest use of radio is also for classical
music (31%) and jazz (28%), falling to 4% for musicals and 3% for plays. Similarly for
recordings, the 24% use for classical music and 21% use for jazz drops to 7% for operas and
musicals. Thus, classical and jazz music are the main uses for all three media (outside the use
of TV for visual arts).
26
Table II. 2 translates the Table II. 1 percentages into estimated national audience sizes. Thus,
the number of adults who have seen a video performance of jazz is 40.9 million (22% of 185.8
million people). As noted above, the audiences for classical music on all three types of media
(video, radio, and recordings) are about 10 percentage points larger than for jazz, while the
media audiences for opera, musicals and plays are considerably smaller than jazz media
audiences. The largest single arts media audience is the 63.2 million viewers of the visual arts
programs on video. TV and other media audiences are generally much larger than the
respective numbers attending live performances, with musicals as an exception.
TABLE II.2: 1992 POPULATION ESTIMATES* OF
BROADCAST AND RECORDED MEDIA
ARTS AUDIENCES
Art Form
Video
(TV & VCR)
(Millions)
Radio
(Millions)
Recordings
(Millions)
Attendance
at Live
Performances
(Millions)
Jazz
40.9
52.0
39.0
19.7
Classical
48.3
57.6
44.6
23.2
Opera
22.3
16.7
13.0
6.1
Musicals
31.6
7.4
11.1
32.3
Plays
33.4
5.4
NA
25.1
Dance
37.2
NA
NA
18.6
Visual Arts
63.2
NA
AN
49.6
Participation rate multiplied by the U.S. adult population (185.8 million).
1992 Viewings of Arts Activities on Video
Table II. 3 presents the total annual number of 1992 viewings of arts-related programs on video.
For jazz, it can be seen that the average number of video viewings per viewer is about 6, which
when multiplied by the 40.9 million viewers of jazz programs on TV or VCR, results in more
than 240 million total annual viewings. In the case of the visual arts, both the large audience
size and the large number of viewings per person combine to produce a total of more than 500
million viewings.
27
TABLE IL3: 1992 ESTIMATED NUMBER OF VIEWINGS
OF ARTS PROGRAMS ON VIDEO
Art Form
Size of Video
Audience
(Millions)
Average Number
of Viewings Per
Viewer
Total Number
of Viewings
(Millions)
Jazz
40.9
6.1
249.5
Classical Music
48.3
6.4
309.1
Opera
22.3
4.1
91.4
Musicals
31.6
4.3
135.9
Plays
33.4
8.0
267.2
Dance
37.2
6.3
234.4
Visual Arts
63.2
8.9
562.5
The new SPPA questions on video viewings not only helps capture that new activity, but also
represents an expansion of the medium of television. New media technology may be expected
to produce new media audiences for the arts.
3. Trends in the Usage of Media for Arts Content: 1982-1992
Table II. 4 shows trend data for the usage rates of different media forms for various arts
activities. The most dramatic changes are the increases in the sizes of the radio audiences for
jazz and classical music as well as the increases in TV audiences for visual arts programs. The
3 percentage point rise in the use of TV for jazz and the 2 point rise in the radio audience for
opera are the largest of the other increases in the table and both are also statistically significant.
The decreases of 6 and 9 percentage points in the use of TV for watching musicals and plays,
respectively, are also statistically significant. The other entries in Table II. 4 show little if any
change in use of the media for arts content over the decade.
28
TABLE II.4: 1982-92 DIFFERENCES IN USAGE OF
BROADCAST AND RECORDED MEDIA
FOR ARTS RELATED CONTENT
Art Form
Usage Rate (Percent)
Change from
1982 to 1992
1982
(n=5683)
1985
(n=2125)
1992
(n=12,736)
Jazz:
TV
Radio
Record
18
18
20
17
18
19
21
28
21
+3*
+ 10*
+ 1
Classical:
TV
Radio
Record
25
20
22
24
21
21
25
31
24
+11'
+2
Opera:
TV
Radio
Record
12
7
8
12
7
7
12
9
7
+2*
-1
Musicals:
TV
Radio
Record
21
4
8
18
5
7
15
4
6
-6*
-2"
Plays:
TV
Radio
26
4
21
4
17
3
-9'
-1
Ballet:
TV
16
15
NA
NA
Dance:
TV
NA
NA
19
NA
Visual Arts:
TV
23
25
32
+9'
The difference is statistically significant at the 95% confidence level,
n denotes the sample size.
These trend data in Table II.4 are shown graphically in Figure 12 for television, Figure 13 for
radio, and Figure 14 for recordings. Figure 12 shows that the main growth in TV is for visual
arts programs and jazz, while significant declines are shown in TV use for musicals and plays.
Figure 13 shows the rather large growth in radio audiences for jazz and classical music. Figure
14 shows smaller growth in the audience for jazz and classical music on recordings, possibly
related to the conversion by listeners to compact discs.
29
Arts Participation Through Television
1982 to 1992
Jazz Classical Opera Musicals
Music
■ 1982
□ 1985
W 1992
Plays
Visual
Arts
Figure 12
Arts Participation Through Radio
1982 to 1992
■ 1982
□ 1985
H 1992
M t,f S
Jazz
Classical
Music
Opera
Musicals
Plays
Figure 13
30
Arts Participation Through Recordings
1982 to 1992
Figure 14
Total Audience Size: The increase in the U.S. population between 1982 and 1992 also
affected the overall sizes of these media audiences for the arts. Table II. 5 shows the relevant
comparisons in arts audience sizes across the decade and puts these changes in somewhat
broader perspective. In the middle columns of Table II.5, it can be seen that the growth in the
radio audiences for jazz, classical and opera music is each at least 40%, while the growth of
TV audiences of visual arts and jazz is 32-37%. The growth of TV audiences for classical
music is 14%. The growth in audiences for recordings of jazz and classical music is 20% and
25%, respectively. All of the media audiences for theatrical performances (musicals and plays)
show net declines over the decade. While the radio audience for opera rose 49% across the
decade, usage of TV and recordings for opera content grew less than the 13.3% increase in the
general population.
31
I
TABLE IL5: 1982-92 PERCENTAGE CHANGES IN THE SIZES OF ARTS MEDIA AUDIENCES 1
Art Form
Television
Radio
Recording
1982 Media
Audience
(Millions)
1992 Media
Audience
(Millions)
Change
1982 Media
Audience
(Millions)
1992 Media
Audience
(Millions)
Change
1982 Media
Audience
(Millions)
1992 Media
Audience
(Millions)
1
Change 1
Jazz
29.6
39.0
+32%
30.4
52.0
+71%
32.4
39.0
+20% 1
Classical
Music
40.8
46.5
+14
36.0
57.6
+60
35.6
44.6
+25 a
Opera
20.9
22.3
+7
11.2
16.7
+49
12.5
13.0
+4
Musicals
29.8
27.9
-6
8.3
7.4
-11
13.0
11.1
-15
Plays
36.5
31.6
-13
6.4
5.6
-13
NA
NA
-
Dance
NA
55.3
NA
NA
NA
-
NA
NA
-
Visual
Arts
43.3
59.5
+37
NA
NA
-
NA
NA
-
Table II. 5 reinforces the important growth of radio audiences for jazz, classical music, and
opera since 1982, in contrast to radio broadcasts of musicals and other theater productions.
The growth in TV audiences for visual arts programs is also impressive, but the medium of
radio is where most of the growth in arts audiences is found.
B. Arts Media Audiences by Demographic Factors
In general the demographic correlates of using the media for arts programming shown in
Appendix Table B.2 are much the same as they are for attending live performances and events.
Education was the major factor related to usage of the broadcast media for the arts, followed
by income differences that were largely a function of education. Women, whites, and middle-
aged people were more likely than men, minorities, and young or elderly people to use the
media for arts, but these differences were much smaller and less consistent than for education.
At the same time certain of these differences in media audience characteristics by
demographics were larger or smaller than others. For example,
Similarly, the biggest gender difference in arts media use between men and
women occurs for men's higher attending to jazz programs. Women watch
more dance programs on TV, but otherwise male-female differences are minimal
The main racial differences occur for attending to media jazz programs among
blacks and to classical music among other racial groups. Otherwise there are few
differences in the use of the media for arts programs among whites and blacks.
32
The most pronounced age differences are found in the high rates of watching
classical music on TV among 55-64 year olds, and the small differences in
listening to classical music and musicals on recordings and listening to musicals
and plays on radio.
Although evident for all arts media use, educational differences were particularly
large for listening to classical music on radio and recordings and were smaller
for watching TV dance programs.
Rates of arts participation via broadcast and recorded media were higher for
higher income respondents than for lower income respondents. The effect of
higher income was weaker than the effect of higher educational level. Both
conclusions also apply to attendance at live arts performances and events. High
income people were also more likely to listen to classical music on radio and
on recordings and to watch dance on TV.
1. 1982 and 1992 Demographic Differences in Arts Media Participation
Appendix Tables B.2 and B.3 show, respectively, the 1992 and 1982 usage rates of broadcast
media for arts programming by demographic group. Appendix Table B.4 shows the differences
between these rates. These tables show that the 1992 correlations of arts media usage with
demographic factors were very similar to those found in the 1982 study. In general, there were
fewer significant changes in the composition of the arts media audiences than there were for
live arts audiences during this decade.
Among the more noteworthy trends in Appendix Table B.4 are the following:
Gender differences remained fairly constant, with a relatively greater decline in
the rate of viewing of opera programs on TV among women.
The racial composition of the arts media audience changed only slightly over the
decade. Blacks reported a greater increase than whites and other races in TV
viewings of jazz and a smaller decrease in TV viewings of plays. However,
blacks also reported smaller gains than whites both for radio listenings of
classical music and for TV viewing of visual arts programs.
The major change in the age profile of the arts media audiences is the greater
arts media usage among older groups. Among those aged 65 and older, this
trend is found for TV audiences of jazz, classical music, and dance. For radio
audiences of jazz, classical music and opera, this trend is true for those aged 45
and older. For TV plays and musicals there is evidence of a greater decline
among those under age 55 than for those 55 and older.
The most interesting and consistent changes in the usage of media are those that
involve educational level . The main gains in listening to jazz and classical
33
music on the radio occurred among those with at least a college education. The
main gains in TV viewing of opera also were in this group. On the other hand,
the main declines - both in TV viewings of musicals and plays and listenings
to recordings of musicals - are found among the college educated as well. Put
another way, the college educated are the vanguard groups for both increases
and declines in arts participation through the media.
A similar pattern emerges for income. The main increase in radio listening to
jazz, as well as the major declines in TV viewings of classical music, operas,
musicals and plays (and listening to recordings of musicals) occurred among the
higher income groups. As noted earlier, these data have not been adjusted to
reflect inflation between 1982 and 1992.
2. Readings of Poetry and Novels
In addition to media questions related to the arts, two new SPPA questions examined readings
of poetry and novels. These were combination "live-media" questions in that the respondents
were asked about listening to such readings done "either live or recorded." No follow-up
questions were asked about the frequency of such readings.
Some 9.1% of SPPA' 92 respondents said they listened to a live or recorded poetry reading and
7.6% had listened to a live or recorded reading of a novel. That represents about 17 million
and 14 million people, respectively. As shown in Appendix A.2, the demographic
characteristics of poetry and novel listeners are much the same as those for other arts activities,
with education differences predominating.
34
CHAPTER III. PERSONAL PARTICIPATION IN
THE ARTS
Chapters I and II have analyzed the public's participation as spectators at arts performances
and events. People also can participate in the arts more directly, both by personally performing/
creating and by taking classes and lessons in the various arts. Not surprisingly, the number
of such arts participants is much smaller than the number of arts spectators - either for live
performances or for media programs. Nonetheless, personal arts participation does involve
millions of American adults.
Section A describes such participation in the arts through personal performance and through
involvement in various arts/crafts activities. Section B describes how people participate in the
arts by taking art classes and lessons. The relevant questionnaire items for these activities are
shown in Appendix C.
Personal Performances and Arts/Crafts Activities
This section describes participation in the arts through personal arts performances and
involvement in various arts/crafts activities. The 1 992 levels of personal arts participation are
presented, as well as changes in personal participation in the arts across time. In addition,
personal arts participation levels that involve public performance or display are distinguished
from personal arts participation levels for the activity in general.
1992 Personal Participation in the Arts
Table III. 1 shows performance rates for several arts activities. Separate frequencies are shown
for respondents who performed in public and for respondents who engaged in the activity only
in private. Thus, Table III.l shows that 1.7% of respondents played jazz music in the previous
year, which translates into 3.2 million American adults. Somewhat less than half of these 3.2
million (1.3 million) played jazz in a public performance. The number of people who had
played any classical music was nearly double that for jazz (7.8 million); however, the number
of people who had played classical music in a public performance was only about 30% larger
(1.7 million) than the number who had performed jazz in public. The number of people who
had sung opera music either publicly or privately was less than half than the number of people
who had personally played either classical music or jazz music. In this way, the relative
performance levels for these types of music largely mirror the sizes of the respective attendance
and media participation levels for jazz, classical music, and opera.
35
TABLE IIL1: 1992 PERSONAL ARTS PARTICIPATION LEVELS
Type of Participation
Participation Level
Public Performance/Display Level
Percent
Number
(Millions)
Percent
Number
(Millions)
Music/ Art
Performances
Play Jazz
1.7%
3.2
0.70%
1.3
Play Classical
Music
4.2
7.8
0.90
1.7
Sing Opera
1.1
2.0
0.24
0.4
Sing Musical
3.8
7.1
0.73
1.4
Sing Choral
NA
NA
6.3
11.7
Act
NA
NA
1.6
3.0
Ballet
.2
.4
0.03
0.1
Modern Dance
8.1
15.0
1.2
2.2
Art/Crafts
Pottery
8.4
15.6
1.7
3.2
Needlework
24.8
46.1
2.4
4.5
Photography
11.6
21.6
1.7
3.2
Painting
9.6
17.8
2.0
3.7
Writing
7.4
13.7
0.9
1.7
Composing
2.1
3.9
0.7
1.3
Purchasing
Art Works
22.1
41.1
NA
NA*
NA indicates the question was not asked or is not applicable.
At the same time, all of these personal performance levels are dwarfed by the number of
people who had sung in a choir or glee club performance in public (6.3%, 1 1.7 million adults).
Moreover, the proportion of people who reported that they had acted in a public performance
(1.6%) was more than double the average of the public performance rates of the four main
music types. Performance in modern/other dance revealed a similar pattern in that 1 .2% of the
respondents (2.2 million adults) reported having taken part in a public modern/other dance
performance while 8.1% reported that they had engaged in such dancing either publicly or
privately. The performance numbers for ballet (0.2% overall participation, 0.031% in public
performances) are also reported.
The personal participation levels for various arts/crafts activities in the lower part of Table III. 1
were generally much higher than those for these musical and performance arts activities. This
was particularly true for needle crafts (weaving, crocheting, etc), in which 24.8% of the
respondents (46.1 million adults) reported having engaged in such an activity during the
36
previous year. Moreover, an estimated 4.5 million adults, or one-tenth of those who reported
personally doing needle crafts, were involved in some type of public display of their needle
crafts. Of those who reported that they had painted, taken photographs, or made pottery/other
crafts, the overall percentages who had displayed their work publicly were, respectively, 2.0%,
1.7%, and 1.7%. About 1.5 million adults (0.8% of the adult population) had either some of
their creative writing published or one of their musical compositions performed in public.
Indeed, the number of people who reported having one of their music compositions played in
public was almost as large as the number of people who played jazz or classical music in a
public performance - shown in the top part of Table III. 1 .
Finally, in terms of participation via the marketplace for arts objects, more than a fifth of the
SPPA respondents (22.1%, over 40 million adults) said they owned an original work of art; a
third of those (13.3 million) said they had purchased or acquired an original piece of art the
previous year.
2. 1992 Demographic Differences in Personal Arts Participation
Performance Activities: As shown in Appendix C.2, education plays the major role in
predicting differences in having personally performed in arts activities, with income
differences appearing only for playing classical music or singing operettas or musicals.
Notable demographic differences in personal arts performances include:
Women are slightly more likely than men to play classical music, sing musicals,
sing in a choir or dance in a ballet.
Black people are more likely than whites or other racial groups to sing in a choir
or act in a play.
Except for opera and musical singer, younger age groups are more likely than
older age groups to have performed in an arts activity.
• Educational differences are quite large for most arts activities, but small for
dance and ballet performance, and for acting in theater.
Non-Performance Activities:
In general, the largest differences in personal arts participation in the second part of Appendix
Table C.2 are found by education and then by income. Important differences by age and race
are also evident. Among the differences in personal arts participation by demographic groups
are:
Men are slightly more likely than women to compose music and do art
photography, while women are far more likely to do needlework.
37
Whites are more likely than blacks or other races to do needlework, paint,
compose music, and own a work of art.
Younger age groups personally participate more than other age groups in
painting, creative writing and composing music. The 25-34 year old age group
participates more than other age groups in pottery/other crafts and photography.
Older people do more needlework than other age groups and the middle-aged
are more likely than others to own a piece of art.
Educational differences are strong for all activities, except for pottery/other
crafts and needlework.
Income differences appear only for photography and owning art works.
3. Changes in Personal Participation in the Arts Across Time
Since many of the personal performance questions were asked for the first time in 1992, it is
not possible to detect changes in participation since 1982. However, responses to questions
that could be compared are arrayed in Table III.2 for the 1982, 1985, and 1992 SPPA surveys.
These include the public performance questions for music-theater-dance and the general
participation questions for non-performance arts activities.
In the case of the public- performing arts activities, the results are quite stable across the 1
year time span, given the very low levels of participation (generally less than 1%). There are
increases in singing in a public opera performance, and, in contrast, there are decreases in
singing in public musical/operetta performances and in dancing in a ballet performance. The
large increase since 1 982 in acting in a live stage performance could be due to a change in the
question format.
Overall stability also is in evidence for more general participation in non-performance
activities. Indeed, the personal participation levels in 1992 in photography, painting, and
creative writing are virtually identical to those for 1982 and 1985. There were notable declines
in the first two "crafts" activities in Table III.2, showing a 4 point decline in pottery/
leatherwork type activities and a 7 point decline in weaving/crocheting type activities.
Participation in these two activities has declined by about 20% since the 1980s.
38
TABLE 1112: CHANGES IN SELECTED PERSONAL ARTS PARTICIPATION RATES
Activity
Personal Participation Rate
(Percent)
Change from
1982 to 1992
1982
1985
1992
Public Music
Performances
Play Jazz
0.78%
0.68%
0.70%
-0.08
Play Classical Music
0.90
0.85
0.90
Sing Opera
0.08
0.04
0.24
+0.16
Sing Musicals
0.89
0.83
0.73
-0.16
Sing Chorale
NA*"
NA
6.30
NA
Public Theater
Performances
Act'
0.77
0.81
1.60
+0.83
Public Dance
Performances
Modern/Other
NA
NA
1.20
NA
Ballet
0.13
0.12
0.03
-0.10
Arts/Crafts
Activities
(Total
Participation)
Pottery
12.0
11.0
8.4
-3.6"
Needlework
32.0
28.0
24.8
-7.2"
Photography
11.0
10.0
11.6
+0.6
Painting
10.0
9.0
9.6
-0.4
Creative Writing
7.0
6.0
7.4
+0.4
Composing Music
NA
NA
2.1
NA
Change in question format
"Statistically significant at the 95% confidence level.
""NA indicates the question was not asked.
39
B. Art Classes and Lessons
In addition to personal performance, people learn about and participate in the arts through
various classes and lessons. The 1992 SPPA survey inquired about such classes and lessons
for the eight types of activities shown in Table III.3. The questions are shown in Appendix
Table C.3. The data represent respondents who had taken such classes at any time in their
lives.
TABLE U13: LIFETIME PARTICIPATION IN ARTS CLASSES/LESSONS
Class/Lesson
Participation Levels
Change from
1982 to 1992
1982
1985
1992
Percent
Percent
Percent
Number in
Millions
Music
47%
47%
40%
74.3
-T
Visual Arts
24
25
18
33.4
-6'
Acting/Theater
9
10
7
13.0
-2'
Ballet
7
8
7
13.0
Modern/Other Dance
NA"
NA
16
29.7
NA
Creative Writing
18
18
16
29.7
-2
Art Appreciation
20
19
23
42.7
+3*
Music Appreciation
20
20
18
33.4
-2
' Statistically significant at the 95% confidence level
"NA indicates the question was not asked.
It can be seen that almost 40% of the SPPA'92 respondents (representing more than 74 million
adults) said they had taken music lessons at some time, and about 18% had taken classes in
painting and the other visual arts. About 7% had taken acting or ballet lessons, and 16% had
taken lessons in modern/other dance and in creative writing. Finally, about 23% had taken
classes in art appreciation and 18% had taken classes in music appreciation.
The right-hand column of Table III. 3, shows that these levels are generally down slightly from
the levels reported in the 1980s. Only attendance at art appreciation classes showed an increase
over 1982 levels.
40
Demographic Differences in Participation in Arts Classes
Education and income are the main predictors of having taken arts lessons or classes, but
certain age and gender differences can be seen as well. Among the notable demographic
differences in Appendix Table C.4 are:
• Women are much more likely than men to have taken ballet or dance lessons,
and to a lesser extent music lessons.
Whites are more likely than blacks or other races to have taken arts classes or
lessons, especially music lessons and dance lessons
The youngest age group (aged 18-24) is more likely than any other age group
to have taken any type of arts lessons, except for dance and music appreciation
which are fairly constant across age groups.
Educational is associated with the most significant differences in taking all types
of arts lessons.
• Income differences are almost as large as education differences in predicting
participation in many of these arts classes.
41
CHAPTER IV. COMPARISONS OF TYPES OF ARTS
PARTICIPATION
This chapter compares levels of arts participation across the three type of arts participation
defined in the preceding chapters: (1) attendance as a spectator at live arts performances and
events, (2) participation by watching or listening to arts programming through broadcast media
and recordings, and (3) participation by personal direct performance. Section A presents the
comparison of the levels of arts participation in 1992, and Section B shows how trends in
participation in other leisure activities compare to the trends in arts participation in general.
The leisure participation items on the SPPA'92 questionnaire are shown in Appendix D.l.
A. Different Types of Arts Participation: 1992
Although the personal performance levels are far lower than the spectator levels, certain
patterns in levels across the various arts forms can be detected in Table IV. 1. For instance,
the audience for classical music is consistently slightly larger than the jazz audience, which in
turn is larger than the audience for opera. For all these three types of music, this is a
consistent pattern. However, participation in musicals is quite different. Attendance at live
performances of musicals is higher than for attendance at classical music performances, but
participation in musicals through the media is lower than for classical music, and personal
participation in musicals is almost the same as personal participation in classical music.
Both the live and video/radio audiences for non-musical theater and those for musicals were
found to be roughly equivalent in Chapter II. However, the estimated number of live public
performers as actors reported in Chapter III is more than twice as large as for musicals.
The size of the audiences for live and video performances of modern/other dance is, in turn,
roughly the same as for theater, and the number of dancers in public performances (1.2%) is
about half-way between those who sung in a musical production (.73%) or who acted in a
stage play (1.6%). However, 8.1% of respondents reported engaging in some form of modern/
other dance. That is many times larger than the numbers who did ballet dancing, either in
public or private; at the same time, the audience for live modern/other dance is 50% larger than
it is for live ballet performances. This suggests that respondents may have included social
dancing in their responses concerning modern/other dancing.
42
TABLE IV. 1: 1992 ARTS PARTICIPATION RATES BY TYPE OF PARTICIPATION
ACTIVITY
ATTENDANCE
AT LIVE
PERFORMANCE
MEDIA
PERSONAL
PARTICIPATION
Video
Radio
Recording
Public
and
Private
Public
only
Music
Jazz
11%
22%
28%
21%
1.7%
0.7%
Classical
13
26
31
24
4.2
0.9
Opera
3
12
9
7
1.1
0.24
Musicals
17
17
4
6
3.8
0.73
Theater
Acting/Plays
14
18
3
NA
NA
1.6
Dance
Modern/Other
7
20
NA
NA
8.1
1.2
Ballet
5
NA
NA
NA
0.2
0.03
Visual
Arts
Art Museums
and Painting
27
34
NA
NA
9.6
2.0
Creative
Writing
Literature
54
NA
NA
NA
7.4
0.9
Poetry
9
NA
NA
NA
NA
NA
Novel
8
NA
NA
NA
NA
NA
l 1
The visual arts show the highest levels of any of the above arts for each type of participation -
34% viewing on TV or video, 27% attendance at an art gallery/museum, 9.6% self-
participation, and 2% showing in public displays. On all types of participation, the visual arts
emerge higher than for music-theater-dance. At the same time, that would not be the case if
various musical and theater performers were combined into a single category as the visual arts
were.
Not shown in Table IV. 1 is the percentage of respondents (54%) who read literature (novels,
short stories, poetry, and plays), a rate that is double the attendance rate at art galleries (27%).
However, the percentage rate of those who personally engage in creative writing (7%) and the
number of writers who had their writings published (less than 1%) was lower than the number
of visual artists (10%) and lower than the number of publicly displayed artists (2%).
43
B. Participation in Other Leisure Activities
An important issue in interpreting the above changes in levels of arts participation at live
events is how these trends compare to trends in other leisure activities, activities which may
be seen as alternative ways to spend leisure time. Ten of these other leisure activities are
shown in Table IV.2 in comparison with arts participation in general, which is shown in the
first row of the table. More detailed data can be found in Appendix D. 1 . Participation in
these other activities can be compared to arts participation in general, which is shown in the
first row of the table.
TABLE IV.2: PARTICIPATION IN LEISURE ACTIVITIES
Activity
1982
1985
1992
Change from
1982 to 1982
Percent
Percent
Percent
Number
(Millions)
Arts Participation*
39%
39%
41%
76.2
+2
Exercise
51
57
60
111.5
+9*"
Movies
63
59
59
109.6
-4
Gardening
60
55
55
102.2
-5"*
Amusement Parks
49
45
50
92.9 •
+ 1
Home Improvements
60**
58**
48
89.2
NA
Active Sports
39
41
39
72.5
Sports Events**
48**
50**
37
68.7
NA
Outdoor Activities
36
37
34
63.2
-2
Volunteer/Charity
28
30
33
61.3
+5
TV Hours/Day
3.0
2.8
3.0
hours
* Defined as attendance at one of the seven benchmark arts activities in Chapter I
•* Questions asked in 1982 and 1985 were different from questions in 1992.
*** Statistically significant at the 95% confidence level.
In regard to trends in these other leisure activities, the most notable increases show up for
jogging and other forms of exercise (up 9 points from 1982 but only 3 points from 1985) and
in volunteer/charity work (up 5 points since 1982). Other leisure activities, however, show
decreases, such as the declines of 4 to 5 points found for attending movies and for gardening.
44
Roughly equivalent levels of participation across time were found for going to amusement
parks, participating in active sports (although down 2 points since 1985) and participating in
outdoor activities. There was no change in the dominant leisure activity, TV viewing.
Previous studies (e.g., Robinson 1991) show that TV watching consumes almost half of all
leisure time and that it is a major competitor with arts participation in the sense that people
who watch more TV participate less in the arts (Robinson, 1987). Analysis of the present data
reaffirm both findings.
1. Comparison of Arts Participation to Participation in Other Leisure Activities
When compared with the participation rates of the other leisure activities, it can be seen that
the overall arts participation rate in benchmark activities falls in the middle, with about half
of the leisure activities having higher participation rates and half of the leisure activities having
lower participation rates. Table IV.2 shows that this relation is found in both 1982 and 1992.
Nonetheless, the relative standing of arts participation with respect to the other types of leisure
participation improved between 1982 and 1992. The last column in Table IV.2 shows that of
the 8 comparable other leisure activities, the participation rates of 3 declined, 2 showed no
change, and 3 showed an increase.
A number of other patterns in Table IV.2 also reflect this improvement. In 1982, six of the
other leisure activities had higher participation rates than the participation rate in benchmark
articles activities and three of them had lower participation rates. In general, the differences
between the higher participation rates and the arts participation rate became considerably
smaller between 1982 and 1992. Three of the six higher participation rates remained higher
in 1992 but showed relatively smaller differences than 1982 differences (going to the movies,
home improvements, and gardening). Table IV.2 shows a similar situation for sports events
and home improvements, but the fact that different questions were asked prevents valid
comparisons. Only the rates for participation in exercise and in volunteer/charity work
increased more than the rates for arts participation.
In general, the slight gain in arts participation since 1982 stands in contrast to other leisure
activities, which have either declined or have remained steady over time.
45
2. Demographic Differences in Participation in Other Leisure Activities
Even for these non-arts activities, education and income play the most important role in
predicting differences in participation. Some interesting age differences are also evident. The
data are shown in Appendix D.l. Some notable demographic correlations include:
Men are more likely than women to attend sports events, play sports and do
home improvements, whereas women are more likely to garden and watch TV.
Blacks watch more TV than whites or other racial groups, but are less likely to
do each of the other leisure activities than whites.
• The youngest age group (age 1 8-24) is more likely than any other age group to
go to movies, sports events, and amusement parks - and to exercise, play sports,
and engage in outdoor activities. Middle-aged people are more likely than other
age groups to be involved in volunteer/charity work, home improvement
activities and gardening. People past the age of 65 are the heaviest TV viewers
and middle-aged people watch TV the least.
Educational differences are large for all activities, with one of the most
noticeable differences being the low TV viewing of the better educated.
For many activities, income differences are as large as differences by education
level.
I
46
CHAPTER V. ARTS ATTITUDES AND PREDISPOSITION
TO THE ARTS
As in 1982 and 1985, SPPA'92 included supplementary sets of questions about Americans'
attitudes related to the arts. Responses to two such sets of questions are reviewed briefly in
this chapter. Section A presents data reflecting respondents' interests in attending more
performances and section B characterizes respondents' preferences for various types of music.
The relevant questions are shown in Appendices E.l and E.3.
Interest in Increased Attendance
Table V.l shows the proportions of SPPA respondents expressing an interest in attending more
arts performances than they currently do. In the first column of Table VI. 1, it can be seen that
these levels of interest in additional participation are very much in proportion to current
attendance levels. Thus, 38% express an interest in going to more visual arts venues, 36% in
attending more performances of musicals, and 34% in attending more plays. These are the
three benchmark activities with the highest levels of attendance in Table LI. Similarly, the
lowest rates of increased interest are found for opera and ballet, the art forms with the lowest
participation levels. Some 29% of respondents expressed no interest in attending more
performances of any of these art forms.
TABLE V.l: DESIRE TO ATTEND MORE ARTS PERFORMANCES
Activity
1982
1985
1992
Change from
1982 to 1992
Percent
Percent
Percent
Number in Millions
Jazz
18%
19%
25%
46.5
+7*
Classical Music
18
16
25
46.5
+7.
Opera
7
8
11
20.4
+4*
Musicals
33
29
36
66.9
+3'
Plays
25
23
34
63.2
+9*
Ballet
12
12
18
33.4
+6'
Dance
NA"
NA
24
44.6
NA
Art Museums
31
31
38
70.6
+7*
"Statistically significant at the 95% confidence level.
**NA Questions were not asked in 1982 and 1985.
47
At the same time, these levels of interest in increased participation are notably higher in 1 992
than in the 1980s for all seven activities. This is most particularly the case for attendance at
plays, art museums/galleries, classical music concerts and jazz performances - again, the
activities with currently the highest attendance levels.
Demographic Differences in Increased Interests in Arts Attendances
The desire to attend more arts performances shares the same demographic correlates in
Appendix Table E.2 as those associated with actual attendance. These correlates include:
• Except for jazz, women expressed more interest than men in attending more
performances of every arts activity - especially ballet and dance performances.
Except for jazz and dance, whites expressed more interest than blacks in
attending more performances of each arts activity.
Older to middle-aged people expressed greater desires than any other age group
to attend more arts performances and events of every arts activity except for jazz
and dance. The highest interest in attending more jazz performances was
expressed by those aged 18-24, and increased interest in attending more ballet
performances was rather uniform across age groups.
Greater interest in increased attendance at all arts activities was found for each
higher level of education, peaking for those with a graduate degree.
Greater interest in increased attendance at all arts forms was found for those
with higher levels of income - but at a lower level than for those with graduate
education.
B. Music Preferences
Further insight into the importance of the arts relative to other leisure interests come from the
SPPA questions on music preferences. This question was extended in the 1992 SPPA to
include eight new types of music and the earlier SPPA category "Soul/Blues/R&B" was
separated into "Soul" and "Blues/R&B". The proportions of the SPPA sample saying they
"liked" each of the 20 types of music are shown in Table V.2.
48
TABLE V.2: MUSIC PREFERENCES
(Percent of the Adult Population Liking Each Type of Music)
Music Type
1982
1985
1992
Change from
1982 to 1992
Percent
Percent
Percent
Number in Millions
Classical/Chamber
28%
30%
33%
61.3
+5*
Opera
10
10
12
22.3
+2*
Show Tunes/Operettas
23
24
28
52.0
+5*
Jazz
26
30
34
63.2
+8*
Reggae
NA*"
NA
19
35.3
NA
Rap
NA
NA
12
22.3
NA
Soul"
26
33
24
44.6
NA
Blues/R&B**
40
74.3
NA
Latin/Salsa
NA
NA
20
37.2
NA
Big Band
33
32
35
65.0
+2
Parade/March
NA
NA
18
33.4
NA
Country-Western
58
53
52
96.6
-6*
Bluegrass
25
24
29
53.9
+4*
Rock
35
42
44
81.8
+9*
Ethnic/National
NA
NA
22
40.9
NA
Folk (Contemporary)"*
25
25
, 23
42.7
-2
Mood/Easy
48
52
49
91.0
+.1
New Age
NA
NA
15
27.9
NA
Choral Glee Club
NA
NA
14
26.0
NA
Hymns/Gospel
36
40
38
70.6
+2
Statistically significant at the 95% confidence level.
"The wording of the question was changed between 1985 and 1992.
"*NA Questions were not asked in 1982 and 1985.
In the fourth column of Table V.2, it can be seen that more respondents (52%, which translates
into more than 96 million adults) liked country-western music than any other type. Mood/Easy
Listening music was second on the list (49%) and rock music third (44%), followed by blues
(40%), hymns/gospel (38%), and big-band (35%). Classical music (33%), jazz (34%), and
49
show tunes (28%) were more in the middle level of these music preferences while opera was
liked by 12% of respondents.
The second part of Table V.2 shows that classical music, jazz, and show tunes are gaining
more in popularity than other types of music (except rock music). Classical music and show
tunes are up 5 points over 1982 levels (also true for bluegrass music), and jazz shows the
greatest increase of any type (except rock music) at 8 points above 1982 levels. Country-
western music declined the most (6 points), but declines are found as well for folk music and
for mood music.
The trends suggest that while classical music, jazz, and show tunes have a smaller than average
base audience, they are becoming more popular than other types of music. Preliminary
analyses reveal that these increases do not result simply from replacement of older, less-
educated people with less liking of these types of music. Rather, the increases reflect increased
liking of these types of music among middle-aged people. Therefore, it is not clear whether
future substantial increases in these music preferences should be expected.
Demographic Differences in Music Preferences
Music preferences had the familiar pattern of demographic correlates in Appendix Table E.2,
but varied more by age, race and gender for certain types of music. Demographic patterns in
music preferences are noted below:
• Women expressed more liking for opera and musicals than men did, while
greater male preference was evident for blues and rock music.
Whites expressed more liking for all types of music than blacks did, except for
jazz, soul, and blues music. The white-black differences were greatest for
country music and for rock music. Those of other racial background expressed
a higher liking of classical music and opera than white respondents did.
• Those aged 55-74 expressed the greatest appreciation for classical music, opera
and musicals. This group also expressed the greatest appreciation for big band
and mood music. The greatest liking for country-western and folk music was
expressed by those aged 45-54. For jazz and blues the greatest liking was
expressed by those aged 35-44, and for rock music by those aged 18-24.
• Those with more education expressed a greater preference for all types of music,
with the exception of country music.
Respondents in the highest income group had a higher preference than any other
income group for all types of music except country- western. However,
respondents with the highest income were not as appreciative as respondents
with the most education - except for folk, rock and mood music.
50
C. Parental Education
The 1992 SPPA asked questions about the educational level of the respondent's parents.
Throughout this report, we have seen that education is the major predictor of arts participation.
In Table V.3, it can be seen that almost 20% of the SPPA'92 respondents reported growing
up in a family where the mother or the father had some college education. About 1 0% of these
parents had a college degree - 12% of the fathers and 8% of the mothers. However, that was
less than the nearly 15% who reported their parents had not finished primary school, and
almost a third who reported they had not completed a high school education.
It can be seen that there were gains in parent's educational levels since 1982. The proportion
of respondents whose mothers had at least a high school diploma increased from 45% in 1982
to 56% in 1992; the proportion of respondents who had a father with at least a high school
diploma increased from 38% to 49%. As can be seen, little of this gain was at the college
level. The proportion of parents who attended college (whether or not they graduated)
increased only 1 percentage point for mothers and decreased 3 percentage points for fathers.
Table V.3 shows that both questions on parental education are strongly related to arts
participation in the 1992 survey. In terms of the average attendance rate for at least one
benchmark arts activity in 1992 (41%), Table V.3 shows there is a differential of 47 percentage
points between respondents whose parents had graduated from college (72-73%) versus
respondents whose parents had not completed elementary school (25-26%)
After MCA adjustments for respondents' level of education, age, and income, most of these
differences are explained. Nonetheless, parental education remains a significant predictor of
arts participation.
TABLE V.3: HIGHEST EDUCATIONAL ATTAINMENT OF PARENTS
Educational Level
Highest Education Level of
Mother
Highest Education Level of
Father
1982
1992
1992 Arts
Participation
Rate
1982
1992
1992 Arts
Participation
Rate
0-7 Grade
16%
13%
25%
19%
15%
26%
Grade School Graduate
12
9
38
13
10
37
Some High School
11
9
33
10
8
37
High School Graduate
31
39
47
21
30
46
Some College
7
9
65
6
7
63
College Graduate
7
8
72
11
12
73
Don't Know
16
13
17
16
18
24
51
CHAPTER VI. RELATED RESEARCH
Insights from 12 Local Arts Participation Surveys
Further insight into the nature of American's arts participation can be found in a 12-community
study recently commissioned by the Research Division of the National Endowment for the
Arts. The research involved two major components: (1) the administration of an arts
participation survey to randomly selected households in each community (the survey examined
facets of arts participation not examined in the SPPA'92 national survey) and (2) the
investigation of the "supply" of local arts programs and facilities in the community. Survey
results for each site were then analyzed in the context of local arts activities, examining the
varied cultural texture behind the statistics.
The surveys were conducted by telephone over a three-month period from mid-February to
mid-May 1992 by Abt Associates. Approximately 400 respondents were interviewed in each
of 1 1 sites, and 600 were interviewed in Philadelphia. AMS Planning & Research Corp. of
Southport, CT conducted complementary research into local arts activity levels and prepared
a summary report (AMS/NEA 1993).
The 12 local surveys were undertaken to build a better understanding of variations in arts
participation patterns between different communities and to provide local sponsors with
valuable information about their areas. Each local survey consisted of three components:
A "Core Questionnaire", common to all 12 sites - including arts participation
and demographic information identical to the 1992 national SPPA
A set of questions, common to all sites but not included in the 1992 national
SPPA, concerning facilities where arts participation occurred, reasons for not
attending more often, and sources of information about arts events.
Community-specific modules, developed by the local partners to address specific
information needs in each community.
The 12 communities varied widely in geography and size, from Sedona, Arizona (population
27,000) to Philadelphia, Pennsylvania (4.9 million), and in terms of arts offerings available to
the public. Some highlights and examples of results from the 12-city study include:
• "Traditional" venues (i.e., concert halls, theaters, etc.) were used exclusively for
'Opera' (95%) and 'Ballet' (90%), and about 10% of all classical music
attenders reported attending a 'Church or Synagogue', underscoring the
important role of these facilities in the performing arts delivery system. African-
American and Hispanic respondents used concert halls and opera houses less
frequently than whites.
52
• An overwhelming majority of respondents gets information about arts events
from the print and broadcast media (84%, includes 'Newspapers', 'Television',
'Radio' and Magazines'). Much smaller percentages obtain information through
word of mouth (24% 'Targeted Appeal (16%), and 'Other' (15%). As education
levels rise so does usage of the media for arts information, and more educated
and wealthier respondents are more likely to get arts information from
'Mailings/Flyers'.
Among those who would like to attend arts events more often, 61% cited one
reason - "Don't have time". The next two most frequently cited reasons related
to cost - "overall cost of going to events" (20%) and "cost of tickets" (19%).
Ten percent or fewer of respondents cited any other reasons. These findings are
generally consistent with results of earlier SPPAs. "Social/personal barriers'
(especially "No one to go with") were reported to be more important reasons for
not attending more often for Pittsburgh and San Jose/Santa Clara County
respondents, two communities with a high proportion of single households.
Participation rates in certain cities seem to be linked with a particular arts
institution or even a particular production. For example, Sedona's popular Jazz
on the Rocks festival clearly impacts the area's jazz participation rate, with 36%
of jazz attenders in Sedona reporting attending a "Park or Other Open-Air
Facility." Pittsburgh's Three Rivers Art Festival, a 17-day annual event of free
events in the downtown area helps explain the area's high participation rate for
'Arts/Craft Fairs or Festivals' (55%).
Demographic correlates of arts participation were similar to those found in the
SPPA analysis, with attained educational level being the main predictor of arts
participation. Nevertheless, there are notable differences across communities
depending on the "supply" of arts in that community.
Results of this study, then, suggest that supply and demand for arts activity do not always have
a traditional relationship in the economic sense, but may stimulate each other to achieve higher
participation levels. In other words, arts programs are not offered solely in response to
demand, but in some cases can stimulate demand. Where high participation rates were
observed, there was also high interest in attending those types of events more often, much as
found in Chapter V. If participation breeds additional interest, then to a degree, supply can
stimulate additional demand and a spiraling effect can occur. Continued parallel research at
the local level then can add valuable context and detail to the national surveys and advance our
understanding of the determinants of arts participation.
53
CHAPTER VII. SUMMARY AND CONCLUSIONS
A. Major Results
Across a decade in which participation in certain leisure activities declined and in which the
arts became involved in increased public controversy, Americans' participation in the arts has
remained steady, and for some arts activities, increased. However, the largest increases in
reported arts participation have occurred through the broadcast and recorded media ~ but less
through the new media (like VCRs, cable TV or CD players) than through the older medium
of radio.
1. Attendance at Live Arts Performances/Displays
When compared to parallel SPPA data collected by the Census Bureau in 1982 (n= 17,254), the
SPPA'92 data (n=12,736) showed:
Almost a five point increase (from 22% to 27%) in the proportion of
adults who had attended an art museum/gallery in the previous year —
representing an increase of more than 1 3 million people over the decade.
Almost 2 point increases in proportions of adults attending an arts/crafts
fair (from 39% to 41%) and in attending non-musical stage plays (from
12% to 14%), representing live audience gains of 11 and 5.5 million
adults respectively.
In contrast, there was a 5 point decline in attending historic/design sites (from 39% to 34%)
and a 2 point decline in attending musicals/operettas (from 19% to 17%). There was also a 3
point decline in reading literature in the form of novels, short stories, poetry or plays.
Overall, more than 41% of American adults reported attending at least one of the seven
"benchmark" arts performances/events (jazz, classical music, opera, musicals, plays, ballet, art
museums/galleries) in the previous year. In the 1982 study, when these activities were
established as benchmark activities to compare with future surveys, that proportion was 39%.
That was the level also found in the 1985 SPPA, in which 13,628 respondents were
interviewed.
As in 1982 and 1985, the major predictor of arts participation was the respondent's level of
education, with 77% of those with a post-graduate degree attending one of these seven arts
events vs. less than 10% with only an elementary school education. Income was also a major
predictor, although most of the differences by income could be explained by the respondent's
education level.
54
Other personal background factors produced much smaller differences in arts participation:
• Women participated slightly more than men.
Whites participated slightly more than blacks and other races (but not
after statistical adjustment for other predictors).
Older adults (past age 65) participated slightly less than younger adults.
Again, these patterns of differences were much the same as those found in SPPA'82.
However some groups did show greater increases in live arts participation than others. Blacks
showed more gains than whites, for example. People in the "empty-nest" years (ages 45
through 74) showed more gain than younger adults of the "baby-boom" generation, particularly
in attending performances of classical music, musicals and plays. Otherwise, baby boomers,
despite their higher average level of education, showed roughly the same levels of participation
as older people ~ particularly when examined on a cohort or generational basis. Perhaps more
of concern is the decline among the baby boomers' next younger cohort, namely those
currently under age 25 (who were born after the mid-1960s): their attendance at jazz
performances and reading of literature is at notably lower levels than was true of 1 8-24 year
olds in 1982.
Of perhaps greater concern is the failure of this increase in arts participation activities to keep
up with the increasing levels of education since 1 982. Arts participation in 1 992 tended to be
slightly lower for most educational levels, and the decline was greater for those with at least
some college education. In other words, college educated people in 1992 were less likely to
attend live arts performances and events than their counterparts in 1982.
More similar to 1982 was the replicated finding that people who participated in one type of
arts event (e.g. jazz) were more likely to participate in others (e.g. opera, ballet). This is an
example of the "more,more" principle, which describes several other patterns of arts attitudes
and behavior in the data. This principle is that participation in one arts activity tends to
stimulate additional participation in that activity and in other arts activities.
2. Media Audiences for Arts Programming
In general, far more people are reached by arts content in the mass media of TV, radio and
recordings than by attendance at live performances. Thus, twice as many respondents
reported attending to a classical music performance on TV (25%), on radio (26%) or on
records,tapes or CDs (31 %) than attended a live performance (12.5%). More people report
seeing a program about the visual arts on TV (32%) than attending an art gallery or museum
(27%).
SPPA'92 has found that video recordings of arts programming are beginning to make notable
inroads in expanding the arts audience. Between 2% and 4% of respondents reported
55
watching video recorded arts programming of jazz/opera/visual arts/etc. in the previous year,
and many of these viewers reported watching only videotapes and not broadcast programs.
When multiplied by the number of such broadcast/video viewings seen, the video audience
becomes considerably larger than the audience for live events. Thus, respondents estimate
more than 500 million viewings of visual arts programs in 1992, in contrast to 163 million
attendances at art galleries/museums. Moreover, the 32% who saw visual arts programs on
broadcast TV in 1992 represented a 9 point increase over the 1982 figure of 23%; TV
audiences for other arts programs showed no such increase, and two showed significant
declines, as noted below.
Moreover, the greatest increases in media arts use in SPPA'92 were not for these video
productions, but for broadcasts of classical music and jazz on radio. That audience reach
grew by more than half, from 18% to 28% for jazz and from 20% to 31% for classical
music. These radio audience gains were found in all segments of the population, although
they were slightly higher in college educated and older (age 45 to 74) age groups.
Audience correlates of these mass media arts programs was much the same as those for
attending live events, again in line with the "more-more" principle. Education and income
were the main predictors, with slightly higher arts media use reported by the middle-aged,
whites and women.
Not all of the arts reached increased audiences in 1992. There were significant declines in
the TV audiences for musicals/operettas (from 21% to 15%) or stage plays (from 26% to
17%). That probably reflects some decline in the offerings of such programs since 1982.
3. Personal Arts Participation
In contrast to media participation, personal participation in the arts is much lower than
attendance at live events. Nonetheless, the proportions involved represent several millions
of American adults, far larger than the numbers who report the arts as their main occupation
in government labor surveys. Thus, about a quarter of the sample said they had done some
needlework in the past year; about a tenth of those who did needlework (or 2.4% - or 4.4
million adults overall) reported that their work had been publicly displayed. Similarly, some
8% of respondents reported having personally taken part in some form of modern/folk/tap
dance, and a projected 2.2 million adults had done so as part of a public performance.
In general, these personal arts participation figures were at about the same levels as in 1 982,
with two main exceptions. There were significant declines in the proportions doing
needlework (from 32% to 25%) and pottery and metal/leather and other crafts (from 12%
to 8%).
There were also notable declines in the proportion of SPPA'92 respondents who had taken
various types of arts lessons/classes at some point in their lives. This was particularly the
case for music lessons (which declined from 47% in 1982 to 40% in 1992) and lessons in
56
the visual arts (from 25% to 1 8%). The only increase was for taking art appreciation classes -
- from 20% to 23%.
There also were notable changes in participation in several non-arts activities. There was
a 9 point increase in the proportion of respondents who did exercises and a 5 point increase
in those who did volunteer/charity work. These increases in potentially competing
discretionary-time activities did not prevent an increase of 2 percentage points (from 39%
in 1 982 to 41 % in 1 992) in the respondents who attended at least on one of the benchmark
arts activities during the previous year. The proportion of respondents who attended arts
activities (41%) was larger than the proportion who attended a live sports event (37%) in
the previous year.
All three of these activities - personal participation, arts lessons/classes and other leisure
activities provide further examples of the "more,more" principle. Those who personally
participate in the arts, who have taken lessons/classes in the arts, and who have taken part
in other leisure activities are all more likely to attend live arts performances.
One activity that does not follow that principle is TV viewing. Heavier TV viewers in
general are less likely to attend arts performances, and the more they watch the less they
attend. This is true despite the finding that respondents who use TV for arts programs are
more likely to attend. Thus, it is less how much TV is used than what it is used for that
affects attendance. TV hours were at the same level as in 1982, but were up slightly from
1985 levels.
Arts Attitudes
One of the more encouraging findings in SPPA 92 was that 71% of respondent who
expressed an interest in attending more arts performances/displays. These high levels of
interest were found for all seven benchmark arts activities, and roughly in proportion to the
levels currently attending. Further reflecting the "more,more" principle was the finding that
those expressing interest in attending more events were those already most active in
attendance. Levels of such interest in 1992 were also at higher levels than in 1982.
Further insights into Americans' arts participation came from a parallel 12-city study, in
which many of the SPPS'92 questions were included to identify additional correlates and
stimulants to arts participation. Those studies also showed that many of the SPPA findings
were replicated independently at the community level. It was also possible to link
attendance to specific arts events and venues in that community. Further ways to apply the
"more, more" principle and other survey findings to arts policy were uncovered in these 12
communities.
57
B. Conclusions
This report illustrates some of the potentials of SPPA'92 as a comprehensive and multifaceted
source of national survey data concerning the American public's arts activities. The data are
widely applicable for arts planning and development.
This report identifies major demographic determinants of arts participation, in particular, a
person's level of education. Within certain education categories, income, gender, and age also
seem to exert some influence on patterns in arts participation.
There is a tendency for people already involved and active in leisure pursuits and arts-related
activities to participate more. Thus, present arts participants are more likely to watch or listen
to arts-related content in the broadcast and recorded media. Nonetheless, as with all the factors
in this study, it is not possible to state definitively which factors are causes of arts participation
and which are results of attending some arts events.
58
Appendix A
Live Attendance Items
Appendix A.1
Live Arts Attendence Items on SPPA 92 Questional
The following questions are about YOUR
activities during the LAST 1 2 months-
between 1 , 1 9 , and
. 19
With the exception of elementary or high
school performances, did YOU go to a live
jazz performance during the LAST 1 2
MONTHS?
No
Yes - About how many times did you do
this during the LAST 1 2 MONTHS?
Number of times
2. (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
durin g the LAST 1 2 MONTHS?
□ No
Yes - About how many times did you do
this during the LAST 12 MONTHS?
Number of times
3. (With the exception of elementary or high
school performances,) Did you go to a live
oper a during the LAST 1 2 MONTHS?
Qno
Yes - About how many times did you do
this during the LAST 1 2 MONTHS?
Number of times
4. (With the exception of elementary or high
school performances,) Did you go to a live
musical stage play or an operetta during
the L AST 12 MONTHS?
□ No
Yes - About how many times did you do
this during the LAST 12 MONTHS?
Number of times
5. (With the exception of elementary or high
school performances,) Did you go to a live
performance of a non-musical stage play
durin g the LAST 1 2 MONTHS?
□ No
Yes - About how many times did you do
this during the LAST 1 2 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
MON THS?
I I No
Yes - About how many times did you do
this during the LAST 12 MONTHS?
Number of times
7. (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?
I I No
Yes - About how many times did you do
this during the LAST 1 2 MONTHS?
Number of times
8. (During the LAST 12 MONTHS,) Did you
visit an ART museum or gallery?
□ No
Yes • About how many times did you do
this during the LAST 1 2 MONTHS?
Number of times
9. (During the LAST 12 MONTHS,) Did you
visit an ART fair or festival, or a CRAFT fair
or festival?
□ No
Yes - About how many times did you do
this during the LAST 12 MONTHS?
Number of times
1 0. (During the LAST 1 2 MONTHS,) Did you
visit a histoic park or monument, or
tour buildings, or neighborhoods for their
historic or design value?
No
Yes - About how many times did you do
this during the LAST 12 MONTHS?
Number of times
1 1 . With the exception of books required for
work or school, did you read any books
during the LAST 1 2 MONTHS?
I I No
Yes - About how many times did you do
this during the LAST 12 MONTHS?
Number of times
12. (During the LAST 12 MONTHS.) Did you
read any -
Read answer categories
a. Plays?
I I No | I Yes
b. Poetry?
I I No □ Yes
c. Novels or short stories?
| | No | | Yes
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Appendix A. 4.
1982-1992 Differences in Benchmark Arts Attendance Rates
by Demographic Groups
Total Sample:
Classical
Jazz Music
+1.0 -0.5
Opera Musicals
♦0.3 -1.2
Art Reading
Plays Ballet Museums Literature
+ 1.6
+0.5
+4.6
•2.4
Gender:
Male
Female
Race:
White
Black
Other
Age:
18-24
25-34
35-44
45-54
55-64
65-74
75+
Education:
Grade School
Some High School
High School Grad
Some College
College Grad
Graduate School
Income:
Under $5,000
5,000-9,999
10,000-14,999
15,000-24,9999
25,000-49,999
50,000 and over
Not ascertained
♦2
-1
♦1
-1
♦1
-3
+3
-6
-1
-1
-3
+5
-4
+4
+2
+3
+3
♦5
+2
♦1
+1
-1
-2
-1
-1
-1
-1
-4
+1
-7
+5
-3
-2
-4
-3
-3
-3
-4
-1
-6
+ 1
-8
+ 1
-1
+ 1
-2
-1
-2
+1
+4
+2
-2
+1
-1
-4
-5
+ 1
+1
+ 1
+1
♦3
-1
-1
-1
-1
-1
-5
-1
-8
+1
-8
+1
-2
-2
-6
-3
-2
-10
-2
-10
-1
+2
+2
+1
+6
+2
+3
-1
+4
+3
+3
+2
+1
-3
-1
+1
-2
+ 1
-4
•10
+4
+1
+6
+4
+4
+1
+7
+2
+1
+1
+6
+3
-1
♦3
+1
+7
+1
+6
+1
+6
+2
+1
+1
♦2
-1
+2
-2
+3
-1
+ 1
+ 1
-2
-6
-1
+2
-2
-2
-1
-3
+5
•2
■3
-3
+3
-9
-7
-8
-1
+2
+3
-1
-4
-7
-5
-8
-9
-6
-3
-6
•10
-6
•10
-6
-7
Appendix B
Media Attendance Items
Appendix B.1
Media Attendence Items on SPPA '92 Questionnaire
d. (During 5m LAST 12 MONTHS.) Old you
listen to opera record*, tap**, or compact
13. (During tha LAST 12 MONTHS.) Did you
ll*t*n to-
a. A reading o( poatry _] No £ J Y «*
either Uva or racordad?
b. A reading ol novai* or
book* either liva D No (Z 3 V "
or racordad?
14a. (During tha LAST 12 MONTHS.) Did you
watch • jazz partormanca on television or
a vidao (VCR) lap*?
~] No - Skip to flam 14c
Yes- Was thai on TV . VCR. or both?
□ TV □ Both
I I VCR
b. About how many timac did you do this in
tha LAST 12 MONTHS?
Numbar of times
c. (During the LAST 12 MONTHS.) Oid you
listen to |azz on the radio?
□
No
□
Yet
d. (During the LAST 12 MONTHS.) Did you
listen to iazz records, tapes, or compact
discs?
□ *• □
Yes
15a (During the LAST 12 MONTHS.) Did you
watch a classical music performance on
television or on video (VCR) tape?
J No - Skip to Itam 1Sc
Yes - Was that on TV , VCR. or both?
^J TV ^] Both
2 VCR
b. About how many times did you do this in
the LAST 12 MONTHS?
Number ot times
c (Dunng the LAST 12 MONTHS.) Did you
listen to classical music on the radio?
□
No
□
Yes
d. (Dunng the LAST 12 MONTHS.) Did you
listen to classical music records, tapes, or
compact discs?
□ N ° □
Yes
16a. (During the LAST 12 MONTHS.) Did you
watch an opera on television or a video
(VCR) tape''
J No - Skip to Item 1 6c
Yes - Was that on TV . VCR. or both?
2 TV "2 Both
2 VCR
b. About how many times did you do this in
the LAST 12 MONTHS?
Number ol Omes
di sc*?
| J NO
I I*"
17a. With the exception of movie*, did you
watch a musical stag* play or an operetta
on television or video (VCR) tap* during
the LAST 12 MONTHS?
2 No -Skip to Itam 17c
Y** - Wa* that on TV , VCR. or both?
"2 TV "J Both
I I VCR
b. About how many times did you do this in
th* LAST 12 MONTHS?
Number of times
c. (Dunng th* LAST 12 MONTHS.) Did you
listen to * musical stag* play or an operetta
o n th* r adio?
I I No □ Ye.
d. (During the LAST 12 MONTHS.) Did you
listen to a musical stag* play or an operetta
o n reco rd*. tap*s , or co mpact discs?
I I No □ Y*.
1Sa. With the exception ot movies, situation
comedies, or TV series, did you watch a
non-musical stag* play on television or a
vidao (VCR) tape during the LAST 12
MO NTHS?
"J No - Strip fo Item 18c
Yes - Was that on TV , VCR. or both?
2 tv 2 bo*
2 VCR
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 ol a
non-musical stag e play ?
I I No [_J Yes
19a. With the exception of music videos, did
you watch on television ot video (VCR)
tape dance such as ballet, modem, folk,
or tap dunng the LAST 12 MONTHS?
2 No - Skip to rrem 20a
Yes - Was that on TV . VCR. or both?
2 TV 2 Bo*
2 VCR
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 mu**m* on television or • vidao
(VCR) tap*?
2 No - Skip to It am 2!
Yes - Was that on TV. VCR. or both?
2 TV 2 Bo,h
^J VCR
c. (Dunng the LAST 12 MONTHS.) Did you
listen to opera music on the radio?
b. About how many times did you do this in
the LAST 12 MONTHS?
□
No
□
Yes
Number ol time*
1
1
I
Wla
rand Mean:
'render:
Male
Female
White
Black
Other
kge:
APPENDIX B.2
Arts Media Audiences by Demographic Factors: 1992
18-24
25-34
35-44
45-54
55-64
65-74
75-96
Education:
Grade School
Some High School
High School Grad
Some college
College Graduate
Graduate School
[income:
Under $5,000
$5,000-9,999
$10,000-14,999
$15,000-24,999
$25,000-49,999
$50,000+
Not ascertained
Jazz
TV
Radio
Rec
20.9
28.2
20.6
23
31
23
19
26
19
19
26
19
35
45
36
18
25
15
16
28
22
21
35
26
24
34
24
23
28
20
22
24
16
20
19
12
12
12
7
7
9
4
11
12
6
16
22
14
26
35
27
29
44
34
36
49
40
13
21
12
13
16
11
17
20
13
21
26
17
22
30
22
29
40
33
20
27
20
Classical Music
TV Radio Rec
25.1
23
27
26
17
30
15
19
24
29
35
35
29
10
12
19
29
35
50
14
16
20
23
25
36
27
30.8
31
31
32
20
36
23
28
35
38
35
29
23
11
12
22
36
49
63
18
18
22
26
32
47
32
23.8
23
24
25
13
27
23
22
27
27
26
22
13
6
6
15
29
41
53
11
12
14
19
25
40
27
I
I
APPENDIX B.2
Arts Media Audiences by Demographic Factors:
1992 (continued)
rand Mean:
ender:
Male
Female
ace:
White
Black
Other
ge:
18-24
25-34
35-44
45-54
55-64
65-74
75-96
ducation:
Grade School
Some high School
High School Grad
Some college
College Grad
Grad School
ncome:
Under $5,000
5,000-9,999
10,000-14,999
15,000-24,999
25,000-49,999
50,000+
Not ascertained
Art
Opera
Musical
Play
Dance
Museums
TV
Radio
Rec
TV
Radio
Rec
TV
Radio
TV
TV
11.6
8.7
6.9
15.
1 3.5
5.7
16.8
2.8
18.8
31.6
11
8
7
14
3
5
16
3
16
32
12
9
7
17
4
6
18
3
21
31
12
9
7
15
4
6
17
3
19
33
11
6
4
13
2
3
15
4
18
24
13
8
10
16
5
8
14
4
22
24
6
4
4
8
2
5
10
2
14
26
8
5
5
12
2
5
12
3
16
32
11
8
7
15
3
7
17
3
19
34
15
12
9
17
4
8
21
3
20
37
17
14
11
21
5
6
23
2
25
34
15
13
9
20
5
5
22
3
22
29
17
9
5
18
4
2
17
2
20
21
5
4
2
7
2
2
7
1
11
13
6
3
2
7
1
1
9
1
12
17
8
5
4
12
2
3
13
2
15
26
14
10
8
18
4
6
18
3
22
39
15
12
11
21
6
10
25
4
25
42
27
24
19
28
8
17
34
7
31
52
6
5
3
7
1
4
9
1
14
21
8
4
3
10
2
2
11
3
14
21
10
6
4
13
4
3
12
3
16
25
10
7
4
14
3
4
14
2
19
30
12
9
7
16
4
5
18
3
18
33
16
14
12
20
5
11
25
4
24
43
14
10
9
17
4
7
17
3
20
31
APPENDIX B.3
Arts Media Audiences by Demographic Factors: 1982
Jazz
TV
Radio
Rec
■Grand
Mean:
18.1
18.3
20.2
■Gender:
Male
20
21
21
Female
17
16
19
.Race:
White
17
16
22
Black
28
36
37
Other
21
23
21
Age:
18-24
18
25
27
25-34
23
26
28
35-44
17
16
18
I
45-54
19
17
19
|
55-64
20
14
16
65-74
12
29
10
1
75-96
4
2
1
{Education:
Grade School
5
7
5
Some High School
10
12
12
High School Graduate
17
16
17
Some College
22
21
26
'
College Graduate
26
27
32
Graduate School
36
34
39
Income:
Under $5,000
13
16
13
$5,000-9,999
12
19
15
$10,000-14,999
15
16
17
$15,000-24,999
20
19
22
$25,000-49,000
22
19
24
$50,000+
26
20
30
Not ascertained
22
19
22
Classical Music
TV Radio Rec
24.7
24
26
26
16
31
16
21
26
34
33
26
20
10
13
22
28
40
49
15
16
22
27
32
46
26
20.1
20
21
20
15
11
12
22
25
23
23
17
13
9
12
14
21
40
51
12
15
15
21
25
40
27
22.2
21
23
23
13
31
16
26
25
26
26
17
10
6
10
16
27
43
56
11
14
18
24
28
38
29
APPENDIX B.3
Arts Media Audiences by Demographic Factors: 1982 (Continued)
Opera
Musical
Play
Dance
Museum:
TV
Radio
Rec
TV
Radio
Rec
TV
Radio
TV
TV
Grand Mean:
12.1
7.2
7.6
20.
6 4.5
8.5
26.
4 3.8
16.7
23.1
Gender:
j
Male
11
7
7
21
5
7
26
4
12
23
Female
17
7
8
22
4
10
27
4
21
23
Race:
White
12
5
8
21
4
10
27
4
17
23
Black
9
5
4
18
5
3
19
5
23
26
Other
20
15
13
20
8
10
21
3
26
25
Age:
18-24
6
4
3
16
2
7
22
5
11
18
25-34
8
6
5
22
4
7
29
5
16
26
35-44
13
6
9
20
5
11
28
3
19
24
45-54
18
2
12
25
8
14
31
4
20
27
55-64
19
10
13
23
4
10
27
3
21
26
65-74
14
8
8
21
3
5
24
3
17
20
75-96
13
7
7
17
4
3
17
2
14
12
Education:
Grade School
4
4
3
9
1
2
7
1
8
5
Some High School
8
4
4
9
3
3
12
2
9
12
High School Grad
11
4
6
18
3
5
23
3
13
21
Some College
14
8
8
27
5
9
32
5
18
29
College Grad
19
14
15
30
9
22
44
5
32
37
Grad School
23
18
18
39
11
24
54
9
34
43
Income:
Under $5,000
7
5
3
11
4
4
13
4
12
13
$5,000-9,999
8
5
4
15
3
4
19
4
11
16
$10,000-14,999
9
6
6
17
4
5
21
3
12
18
$15,000-24,999
13
6
8
22
4
8
28
4
18
23
$25,000-49,999
15
8
9
26
5
13
34
5
22
33
$50,000+
24
15
13
36
12
20
55
2
29
43
Not ascertained
13
11
12
22
8
11
26
3
18
21
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Appendix C
Personal Participation Items
I
is
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Appendix Table C.2
Personal Participation Rates for Various Arts Activities by Demographic Factors:
1992
Play
Play
Classical
Jazz
Music
Sing Sing Sing Act in
Opera Musicals Choir Plays
Grand Mean:
Gender:
Male
Female
Race:
White
Black
Other
Age:
18-24
25-34
35-44
45-54
55-64
65-74
75*
Education:
Grade School
Some High School
High School Grad
Some Col lege
College Grad
Graduate School
Income:
Under $5,000
5,000-9,999
10,000-14,999
15,000-24,9999
25,000-49,999
50,000 and over
Not ascertained
1.7
2
1
2
2
2
3
2
2
1
2
1
«
1
1
2
3
3
3
1
2
2
1
2
2
4.2
3
5
4
3
5
6
3
4
5
5
4
3
1
1
2
6
8
9
2
2
3
4
5
6
4
1.1
1
*
1
1
1
2
2
1
»
1
2
2
3
3.8
3
5
4
2
4
2
4
4
5
5
4
2
1
1
3
5
6
9
1
2
3
3
4
6
4
6.4
5
7
6
11
2
5
7
7
7
8
5
2
4
4
6
7
7
9
5
6
7
7
7
5
4
1.6
2
2
1
3
3
2
2
2
1
1
1
1
2
2
2
2
1
1
1
2
2
2
1
illet
Dance
0.2
8.1
8
.4
8
.2
8
.1
8
1.0
9
.4
11
.5
10
.1
7
6
6
.2
9
5
4
4
.2
8
.4
10
.3
8
.2
10
1.0
7
.2
7
7
-2
9
*
8
.3
8
.4
8
(*) Less than 0.12
Appendix C.2 (continued)
Personal Participation Rates for Various Arts Activities by Demographic Factors: 1992
Creative Buy Own
Pottery Needwork Photograph Painting Writing Compose Art Work Art Work
Grand Mean:
5740
Gender:
Male
2483
Female
3246
Race:
White
4975
Black
587
Other
152
Age:
18-24
608
25-34
1259
35-44
1258
45-54
865
55-64
702
65-74
650
75-96
393
Education:
Grade School
443
Some High School
570
High School Grad
2121
Some College
1226
College Grad
811
Graduate School
535
Income:
Under $5,000
276
5,000-9,999
453
10,000-14,999
611
15,000-24,9999
1030
25,000-49,999
1859
50,000 and over
1006
Not ascertained
500
8.4
8
9
9
8
5
9
10
10
9
6
6
3
2
7
8
12
9
8
7
4
8
8
10
8
8
24.8
5
43
26
15
24
18
24
25
26
27
29
26
22
25
25
26
26
21
22
27
26
26
25
23
24
11.6
13
10
12
11
9
11
15
13
13
10
7
2
3
5
9
15
16
22
6
7
8
9
13
17
12
9.6
9
10
10
5
10
19
10
10
8
6
6
4
1
5
9
13
12
13
8
8
8
10
10
11
11
7.4
7
8
7
6
11
14
7
8
7
5
5
2
3
4
11
12
16
7
7
6
7
7
9
9
2.1
3
1
2
3
1
4
3
3
1
2
1
*
1
2
3
3
3
2
2
3
2
2
2
3
22.1
22
22
24
12
8
13
19
27
29
26
20
17
4
11
15
27
32
49
10
10
14
17
22
40
24
7.2
7
7
8
5
2
5
8
9
9
6
6
4
1
4
5
9
10
18
3
3
5
6
7
14
8
(*) Less than 0.1X
Appendix C J
Lesaona Items on SPPA 02 Questionnaire
38a. Have you EVER taken Knom or ctaaaaa In
music - althar voice training or playing an
an instrument?
1 Q] No- Skip to /lam 30a
zdvaa
39c. Were these lessons or ctaaaae ottered by the
Elementary or high school you were
attending or did you take theee lesaona
elsewhere?
1 L J Elementary/high school
2 C D Elsewhere
b. Did you taka theee taaaona whan you wara •
Read categories (Do not read category 4 il
respondent Is under 25 years old. )
Mark (X) mil that apply.
1 | | Last than 12 yaara old
2 Q^] 12-17 yaara old
3 Q Both
CHECK
ITEMD
Refer to Item 38b
If box 4 Is marked In item 39b. ASK itam 39d.
If not - la box 2 or 3 marked In Item 39b AND
the respondent Is under 25 years old?
3 Qj 18-24 yaara old
] No- Skip to Itam 40a
4 L ~J 25 or oldar
| | Yea- As* ham 30d
1 CHECK
1 ITEM A
I Refer to Item 30b
I Is box 1 or 2 marked In item 38b?
3Sd. Old you take any of these lesaona or
clasaea in the past year?
1 (~)no
3 No- Skip to Check Item B
] Yes- As* Itam 38c
2(Z)Yes
38c. Were these lesaona or clasaea ottered by the
Elementary or high school you were
attending or did you take these lessons
elsewhere?
40a. (Have you EVER taken lesaona or classes)
acting or theater?
1 L J No- Skip to itam 41a
1 L _J Elemantary/high school
2 Q Elsewhere
3 Q] Both
2(~1 V«»
b. Oid you take theee leaaons when you were -
Read categories. (Do not read category 4 il
respondent Is under 25 years old.)
Mark (X) all that apply.
1 \_ _) Less than 12 years old
2 | 1 12-17 years old
3 L_J 18-24 years old
4 [" J 25 or older
CHECK
I ITEMB
1 Reler to item 38b
II box 4 is marked in item 38b. ASK item 38d.
It not - Is box 2 or 3 marked in item 38b AND
the respondent is under 25 years old''
J No- Skip to item 30a
~2 Yes- Ask item 38d
CHECK
ITEME
Reler to item 40b
Is box 1 or 2 marked in item 40b?
33d Did you lake any ol these lessons or
classes in the past year?
1 C D No
2 (Z|Yes
J No- Skip to Check item F
J Yes- As* item 40c
40c. Were these lessons or classes ottered by the
Elementary or high school you were
attending or did you take these lessons
elsewhere?
1 L J Elementary/high school
2 C D Elsewhere
3 Q Both
39a (Have you EVER taken lessons or
classes) in visual arts such as sculpture,
painting, print making, photography, or
film making?
1 L J N °- S*ip to item 40a
2D Yes
b Oid you take these lessons when you were •
Read categories. (Do not read category 4 II
respondent is under 25 years old.)
Mark (X) all that apply.
CHECK
ITEMF
Refer to item 40b
If box 4 Is marked In Item 40b. ASK item 40d
1 (_ J Lass than 12 years old
If not - Is box 2 or 3 marked In Item 40b ANO
the respondent Is under 25 years old?
2 | 1 12- 17 years old
J No- Skip to Item 41a
3 | 1 18-24 years old
4 r J 25 or older
I Yes- As* Item 40d
40d. Oid you take any of these lessons or
classes in the past year?
1 | |nq
2(~1 Y *«
CHECK
ITEMC
Reler to item 39b
Is box 1 or 2 marked in item 39b 1
I
~2 No- Skip to Check Itam D
3 Yee- As* m»m 30c
Appendix C 2. continued
41a. (Have you EVER ukn leaeona or dtntil In
ballet?
1 £ ^ No- S*/p lo ham 42a
4 2c. Wl
Ele
at*
at*
«
2
3
•** thee* laaaona of claaaaa ottered by the
mentary or high achool you ware
mdrng or did you take theee laaaon*
2 |" ) Ye.
J Elementary/high achool
b. Did you take theee lessons when you war* ■
Read categories. (Do not read category 4 il
respondent Is under 26 years old.)
Mark (X) all that apply.
1 £ J Lata than 12 year* old
2 Q^] 12-17 year* old
3 £^18-24 year* old
4 Q J 25 or older
3 Elsewhere
] Both
CHECK
ITEM J
Reler lo Ham 42b
If box 4 la marked In ham 42b. ASK Item 42d.
rf not - la box 2 or 3 marked In Item 41b AND
the respondent Is under 25 years old?
J No- Skip to item 42a
2 Yev As* Ifm 41d
CHECK
ITEM G
Refer to item 41b
1* bo i 1 or 2 marked in item 41b?
4 2d Did you lake any ot theee laaaona or
J No- Skip to Check Hern H
da
1
2
sacs in the past year?
] Yes- As* Item 41c
|Nc
Hy.,
41c. Were theae laaaona or claaaaa ottered by me
Elementary or high school you were
attending or did you take these lesson*
elsewhere?
1 [~ J Elemenury/high school
2 C D E |sewnere
3 C J Botn
43*. Hav
crea
1
2
m you EVER taken lessons or claaaaa in
ove writing?
J No- Skip to item 42a
:>•.
b. Did you take these lessons when you were -
Read categories. (Do not read category 4 il
respondent is under 25 years old. )
CHECK
ITEM H
[Reler to item 41b
If box 4 is merked in item 41b. ASK item 4ld.
Hm
i
2
3
4
* (X) all that apply.
_! Less than 12 year* old
II not - Is box 2 or 3 marked in item 41b AND
the respondent is under 25 years old?
_J No- Skip to item 42a
2 Yes- Ask item 41d
J 12-17 yeersold
^ 16-24 year* old
1 25 or older
4ld. Did you lake any of these lessons or
classes in the past year?
1 Q3 No
2Q Yes
CHECK
ITEMK
Refer to item 43b
Is box 1 or 2 marked in item 41b?
J No- Skip to Check item L
J Yes- As* item 43c
42a. (Have you EVER taken lessons or classes) in
dance, other than ballet such as modem, folk,
or tap?
1 L J N °- Skip to item 43a
2 d Yes
43c. W
Eh
an
all
1
2
3
rr* these lessons or classes ottered by the
mentary or high achool you ware
ending or did you take these lessons
awhere?
_] Elementary/high school
J Elsewhere
b Did you take these lessons when you were -
flead categories. (Do not read category 4 il
respondent is under 25 years old. )
Mark (X) all that apply.
1 [_ J Lass than 12yeersold
2 £^ 12-17 years old
3 LJ 18-24 year* old
4 LJ 25 or older
2 Both
CHECK
ITEML
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?
J No- Skip to Item 44a
2 Y ««- As* Hem 43d
CHECK
ITEM I
Refer to item 42b
Is box 1 or 2 marked In item 42b?
43d. Oid you take eny ot theae nitons or
clesaaa In the par year?
1
2
J No- Skip to Check Item H
I No
J Yea- As* Item 41c
D v -
*
Appendix C.3. continued
44a. (Have you EVER taken a clasa) in an
appreciation or art hietory?
CHECK
ITEMO
Refer to item 45b
Is box 1 or 2 marked In Item 45b?
1 C D No_ Sklp ,o """ 45 *
3 No- Skip to Check Item L
2Qvea
3 Yea- Asa Item 44c
b. Oid you take this clasa when you were -
need categories. (Do not read caimgory 4 II
r e j ponder* is under 25 years old. 1
Mark (X) all that apply
t \_ J Leas than 12 years old
2 Q^ 1 2- 1 7y«« r «old
3 Q~] 18-24 years old
4 L J 25 or older
45c. Was this class offered by the elementary or
high school you were attending or did you
take these dessee eteewhere?
1 [~ _J Elementary/high school
2 CD H"""***"
3 Q^] Both
CHECK
ITEMP
Refer to Item 45b
II box 4 is marked In item 45b ASK Item 45d
CHECK
ITEM M
Refer to item 44b
Is box 1 or 2 marked in item 44b?
If not - Is box 2 or 3 marked In item 45b ANO
the respondent is under 25 years ofd?
3 No- Skip to Item 46a
] No- Skip to Check Item L
J Yes- As* item 44c
] Yes- As* Item 45d
44c. Was this class ottered by the elementary or
high school you were attending or did you
take these classes elsewhere''
4Sd. Did you take this class in the past year?
□ no
1 (_ _j Elementary/high school
2 Q Elsewhere
3 Q^] Both
□ v.s
b. What Is the highest grade (or year) of regular
school your FATHER completed?
1 | | 7th grade or less
2 | | 8th grade or less
3 CD 9 ttl - 11tn 9'«a«s
CHECK
ITEM N
Refer to item 44b
It box 4 is marked in item 44b. ASK item 44d
It not - Is box 2 or 3 marked in item 44b ANO
the respondent is under 25 years old?
J No- Skip to item 45a
4 £ J 12th grade
| 1 Yes- As* Item 44d
5 [ | College (did not complete)
6 [~ _J Completed college (4+ years)
7 r "J Post graduate degree (M A . Ph.D.. M.D.. J.D.
8 [_ _J Don't know
etc)
44d Did you take any of these lessons or
classes in the past year 7
1 [ "2 No
2 □ Yes
b What is the highest grade (or year) of regular
school your MOTHER completed 7
1 | | 7th grade or less
2 [_ _) 8th grade or less
3 CD 9 m -1 1th grades
4 | | 12th grade
5 {_ _j College (did not complete)
45a (Have you EVER taken a class) in music
appreciation 7
1 L J No- Skip to item 46a
b. Old you take this class when you were -
Read categories. (Do not read category 4 il
respondent Is under 25 years old.)
Mark (X) all that apply
1 [_ J Less than 12 years old
6 | J Completed college (4-*- yeers)
2 | 1 12- 17 years old
7 Q J Post graduate degree (MA. Ph.D.. M.D.. J.D.
etc.)
3 (^ 18-24 years old
4 ( J 25 or older
8 [" D Do"'' know
CHECK
ITEMO
Is this the last household member to be
interviewed?
•
J No- Go 6ac« fo the NCS- 1 end Interview the
next eligible NCS household member
"2 Ye* END INTERVIEW
Appendix C.4
Lessons/Classes for Various Arts Activities by Demographic Factors: 1992
Music Visual
Lesson Arts Activity Ballet Dance Creative Uriting Art Appreciate Music Appreciai
Grand Mean:
Gender:
Male
Female
Race:
White
Black
Other
Age:
18-24
25-34
35-44
45-54
55-64
65-74
75-96
Education:
Grade School
Some High School
High School Grad
Some College
College Grad
Graduate School
Income:
Under $5,000
5,000-9,999
10,000-14,999
15,000-24,9999
25,000-49,999
50,000 and over
Not ascertained
39.6 17.7 7.4
7.0 15.8
15.6
22.9
36
17
7
1
10
15
23
43
18
8
12
22
16
22
41
18
8
7
17
16
23
29
11
6
5
9
13
22
28
17
7
2
9
13
24
46
24
11
10
16
24
27
43
22
9
7
13
22
26
41
20
8
10
18
19
25
41
17
7
8
18
12
23
37
13
5
3
16
8
21
29
9
4
2
16
7
17
28
8
3
1
12
3
11
7
2
1
1
3
1
5
15
5
1
2
7
1
7
33
12
4
5
12
6
13
51
24
11
11
20
24
29
58
30
14
11
24
32
42
63
34
15
12
28
36
51
27
12
5
4
10
12
17
27
11
6
3
9
11
11
28
10
4
3
12
8
15
35
17
7
6
14
13
17
44
19
8
8
17
17
25
55
27
10
11
22
24
37
38
16
9
6
16
14
23
18.1
17
19
19
16
12
18
19
21
19
18
16
7
1
4
8
23
37
45
12
10
9
17
19
30
16
Appendix D
Other Leisure Activity Items
Appendix 0.1
Other Leisure Activity Items
on SPPA '92 Questionnaire
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?
[] No ] Yes
c. With the exception of youth sports, did you
go to any amateur or professional sports events
events during the LAST 12 MONTHS?
| | No I I Yes
d. During the LAST 12 MONTHS, did you go to
an amusement or theme park, a carnival, or
a similar place of entertainment?
"2 No ]] Yes
e. During the LAST 12 MONTHS, did you jog,
lift weights, walk, or participate in any other
excercise program?
^| No ] Yes
f. During the LAST 12 MONTHS, did you
participate in any sports activity, such as
softball. basketball, golf, bowling, skiing, or
tennis?
] No ] Yes
g. Did you participate in any outdoor activities,
such as camping, hiking, or canoeing during
the LAST 12 MONTHS?
Q "2 No ~2 Yes
h. Did you do volunteer or charity work during
the LAST 12 MONTHS?
"2 No ~2 Yes
i. Did you make repairs or improvements on
your own home during the LAST 12
MONTHS?
] No ] Yes
j. Did you work with indoor plants or do any
gardening for pleasure during the LAST 12
MONTHS?
] No ] Yes
Appendix D.2
Participation Rates in Other Leisure Activities by Demographic Factors: 1992
■Brand Mean:
TV Sports Amusement Play Home
Hours Movies Events Park Exercise Sports Outdoor Charity Improvement Gardening
3.0 59.0
36.8
50.2
59.7
38.8
34.1
32.6
47.6
54.7
Gender:
Race:
!
Age:
Education
Income:
Male
2.8
60
Female
3.1
59
White
2.9
60
Black
3.7
54
Other
2.8
62
18-24
3.0'
82
25-34
2.8
70
35-44
2.6
68
45-54
2.7
58
55-64
3.2
40
65-74
3.7
34
75-96
3.8
19
ri:
Grade Sch
ool
3.4
16
Some High
School
3.7
35
High School Grad
3.2
54
Some Coll
ege
2.8
21
College G
rad
2.4
77
Graduate
School
2.1
81
Under $5,
300
4.1
43
5,000-9,999
3.7
35
10,000-14
,999
3.6
44
15,000-24
,9999
3.2
53
25,000-49
,999
2.7
67
50,000 and over
2.3
76
Not ascertained
3.0
58
44
30
38
32
20
51
47
43
35
23
20
7
9
19
33
45
51
51
23
22
22
32
42
52
34
51
50
51
45
46
68
68
58
44
30
29
14
24
35
51
59
58
54
35
34
39
52
57
57
46
61
50
59
29
61
40
51
32
51
38
67
59
67
52
62
44
62
34
56
21
50
18
34
7
24
10
39
18
55
34
71
49
75
55
79
57
40
20
39
21
45
25
54
36
66
45
77
54
60
36
39
29
37
10
28
43
41
42
36
21
21
5
11
21
31
42
42
51
17
21
22
34
40
44
30
30
34
33
28
23
26
31
37
36
35
37
20
17
18
26
40
43
54
18
23
25
29
37
43
26
53
42
50
32
31
33
47
58
57
53
42
20
24
34
47
53
52
65
21
25
35
42
57
64
41
46
62
57
39
42
31
51
57
64
63
63
55
44
50
53
55
61
65
40
44
50
53
60
62
49
Appendix E
Arts Attitudes Items
Appendix E.1
Increased Interest in Attendance
on SPPA '92 Questionnaire
21a. 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.
3D
4[
8
Jazz music performance
Classical music performance
Operas
Musical plays or operettas
Non-musical plays
6 | | Ballet performances
Dance performances other than ballets
Art museums or galleries
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
No one thing most
Appendix E.2
Desire to Attend More Arts Performances by Demographic Factors: 1992
Grand Mean:
Gender:
Male
Female
Race:
White
Black
Other
Age:
18-24
25-34
35-44
45-54
55-64
65-74
75-96
Education:
Grade School
Some High School
High School Grad
Some College
College Grad
Graduate School
Income:
Under $5,000
5,000-9,999
10,000-14,999
15,000-24,9999
25,000-49,999
50,000 and over
Not ascertained
Classical
Jazz
Music
Opera
25.2
25.4
11.0
29
24
9
22
27
13
22
27
11
49
14
7
22
28
13
26
19
9
32
30
7
30
27
10
26
29
13
18
30
17
15
31
14
10
24
13
6
11
6
11
13
5
22
18
8
31
30
14
36
37
14
41
52
21
22
18
11
17
18
8
17
19
8
23
23
8
27
35
12
34
37
15
26
26
13
Musicals Plays Ballet Dance
36.2 33.4 18.3 23.8
30
42
38
28
26
32
35
35
40
39
42
30
12
18
30
46
50
57
25
23
23
31
38
54
37
30
37
35
28
24
30
33
29
38
32
32
23
8
15
28
42
49
58
21
22
25
30
37
47
33
10
17
26
30
19
23
12
29
25
29
17
28
20
26
19
23
18
23
19
23
18
20
16
17
7
12
8
17
15
23
23
30
25
23
31
31
12
22
15
22
13
20
17
26
19
24
23
26
19
22
Art Museum/
Galleries
41.5
40
42
42
35
36
42
43
45
45
40
37
30
8
15
30
52
66
77
24
23
22
36
44
66
41
Appendix E.3
Music Preference Items on
SPPA '92 Questionnaire
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 [ ~] Classical/Chamber music
2 [ 3 Opera
3 [ 1 Operetta/Broadway Musicals/Show tunes
4 [ ^ Jazz
5 [ _J Reggae (Reg gay)
6 f J Rap music
7 [ ^] Soul
8 [ J Blues/Rhythm and blues
9 [ ~] Latin/Spanish/Salsa
P 3 Big band
1 [ ^ Parade/Marching band
2 [ 3 Country-western
3 [ 3 Bluegrass
4 [ Z] Rock
5 [ J The music of a particular Ethnic/
National tradition
6 [ 3 Contemporary folk music
7 [ 3 Mood/Easy listening
8 [ 3 New age music
9 [ _J Choral/Glee club
20 [ 3 Hymns/Gospel
21 [ 3 AM
22 [ 3 None/Don't like to listen to music- Skip to item 38a
b. If only one category is marked in 37a, enter code in
37b without asking. Which of these do you like best?
J Category number
3 No one type best
Appendix E.4
Preference Rates for Selected Types of Music by Demographic Factors: 1992
Classical
Jazz Music
Grand Mean:
Gender:
Male
Female
Race:
White
Black
Other
Age:
18-24
25-34
35-44
45-54
55-64
65-74
75-96
Education:
Grade School
Some High School
High School Grad
Some Col lege
Col lege Grad
Graduate School
Income:
Under $5,000
5,000-9,999
10,000-14,999
15,000-24,9999
25,000-49,999
50,000 and over
Not ascertained
33.9
33.3
12.1
27.5
38
32
10
24
30
35
14
31
32
35
13
30
54
18
8
15
26
36
14
20
30
24
5
14
41
27
7
21
39
36
10
25
33
39
16
35
30
42
20
37
27
43
21
42
21
29
17
27
10
12
6
7
15
16
5
12
28
25
9
22
42
39
14
33
50
51
16
39
54
65
26
52
27
20
6
14
21
23
7
14
25
25
12
19
29
29
9
23
36
35
13
29
47
47
17
44
35
35
13
29
Big
Country/
Mood/
lues
Band
Folk
Western
Rock
Easy
40.3
34.8
22.7
51.8
43.5
48.9
44
34
23
52
48
44
37
36
23
52
39
53
38
37
24
57
46
50
59
22
15
19
23
39
25
17
18
32
38
42
39
13
10
39
70
38
46
23
19
50
59
47
46
30
27
53
57
52
40
43
32
61
39
54
35
53
26
58
14
54
35
61
26
54
9
55
23
46
14
46
7
36
14
19
9
48
12
22
26
24
13
59
27
31
36
32
20
57
42
49
50
37
25
50
54
56
50
43
28
42
54
56
59
53
40
46
53
60
35
16
11
43
36
32
30
27
17
52
32
36
34
30
18
55
33
35
35
31
19
57
39
43
43
38
26
54
50
56
52
45
31
48
55
62
36
37
20
42
35
46
Appendix F
Survey Methodology
1992 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 selected households were eligible to be included in the survey. Less than
20% 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 1992 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 interviews and the telephone interviews.
The interview took about eight minutes to complete for the first six months of 1992 (i.e., January through June).
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. These
questions are shown in Section III of the Appendix.
The completed questionnaires were returned to the Census Bureau in Suitland, Maryland, 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 Bureau survey. These
background data were then weighted to reflect U.S. population characteristics and projected to the total U.S. adult
population.
Appendix G
Measurement of Sampling Errors
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 jazz performances, percentage watching
classical music performances on television, percentage liking rock music).
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 the 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 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, classification, and edit 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.
I
I
Variance and Sample Errors for the SPPA
With respect to the sampling errors for the SPPA portion of the sample. Appendix Table G.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, 10.6% of the SPPA'92 respondents said they attended a live jazz performance
at least once during 1992. Using the theoretical mathematical formula to compute sampling errors, one standard
error for this sample size (12,736) is
.106* .899 = >0027 or >2 7%
12,736
The population bounds for these questions for 95 % confidence is obtained by roughly doubling this interval of .27 % ,
or about .54%. This means that the 95% confidence interval falls 0.54% 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 4) in a
neighborhood were chosen. Since people in neighborhoods may tend to share certain characteristics (such as going
to jazz or classical musical 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 the 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 6360 respondents each and the variations in estimates for
these half-samples would be compared to the variation expected theoretically.
For the present study, 16 such half-samples were generated. In the case of jazz performances, the first half-sample
chosen at random produced an estimate of 1 1.2% attendance at jazz performances, or 0.6% more than the overall
average of 10.6%. The remaining 15 half-samples respectively produced the following figures: 10.9%, 10.5%,
10.6%, 10.3%, 9.9%, 10.3%, 103%, 10.5%, 10.3%, 9.7%, 10.8%, 11.7%, 10.7%, 11.4% and 11.3%. These
16 estimates are clearly rather close to the observed average of 10.6%. But are they as close as the theoretical
sampling formulas for this sample size would predict?
That is estimated from the sum of each of the half-samples. The variation from the overall average for the first
half-sample is 0.6%, as noted above. The variations from the overall average of the 15 remaining half-samples are,
respectively: 0.3%, 0.1%, 0.0%, 0.3%, 0.7%, 0.3%, 0.3%, 0.1%, 0.3%, 1.1%. 0.2%, 1.1%, 0.1%, 0.8%, and
0.7%. The average deviation for these 16 figures is about .45%; the standard deviation from the statistical formulas
is 0.53%. In contrast, the theoretical figure for a completely random sample of 12,736 is 0.27%, which is about
half as large as the figure that is observed.
Therefore, we estimate that the overall design factor due to sample clustering is the ratio of 0.0053/0.0027, or 1.96.
This means that the sample may be about 50% less efficient than an unclustered random sample of the same size.
Thus, the effective sample for this question is only about half as large as the number of people actually interviewed.
The design factor shown for several other questions in Table 2.3 also have ratios of about the same magnitude, but
some design factors are considerably higher, with a few being below 2.00. The overall average design factor is
only 2.18, which is more than double the estimates from simple random sampling and this design factor needs to
be applied to the estimated errors from simple random sampling.
Appendix Table G.l
SAMPLING ERROR CALCULATIONS — 1992 SPPA Data
Benchmark Activities:
(n=12,736) Rate:
Theoretical Observed
Sampling Error
(n=12,736)
Jazz
.106
.0027
Classical
.125
.0029
Opera
.033
.0016
Musicals
.174
.0033
Plays
.135
.0030
Ballet
.047
.0019
Art Museums
.267
.0039
SE
Design
(6,368)
Factor 1 (t 2 )
.0053
1.96(1.4)
.0073
2.52(1.6)
.0032
2.00(0.6)
.0090
2.73(2.2)
.0073
2.43(1.7)
.0043
2.26(0.9)
.0112
2.77(2.4)
Other Arts Activities
Read books .609
Read 1 iterature .542
Historic sites .407
Arts/crft fairs. 345
TV Jazz .209
.0043
.0044
.0043
.0042
.0036
.0090
.0091
.0111
.0104
.0057
2.
2.
2.
2.
1.
. 09 (na)
.07(2.4)
.58(4.1)
.48(4.4)
.58(1.9)
Other Activities:
(n=5940)
(2970)
Movies .582
Sports events .3 57
Like classical .342
.0065
.0062
.0063
.0108
.0083
.0125
1.
1.
1.
.66(2.8)
.34(2.9)
,99(2.4)
Average
2.18
'Design factor = (Design Effect) * %.
difference necessary for the 1982-1992 t-value
statistically significant at the .05 level equals
to be
1.96 * \l {OSE82 * 2) + (OSE92 * 2) ,
where OSE is the observed standard error.
Appendix H
Areas For Additional Research
Areas For Additional Research
The present analysis presents only some brief highlights from this very rich source of data on
American's arts participation. Only now are certain local and regional arts agencies beginning
to examine the relevance and applicability of these data for their own communities. Data
collected in future national surveys will be able to use the 1992 and 1982-85 surveys to
determine long-term trends in the role of the arts in the daily life of the American public. This
is the aim of a series of research projects, based on SPPA'92 data, that has been funded by the
Research Division of the Endowment. The topics focus on the following areas:
Jazz participation
Classical music participation
Musical theater, operetta, and opera participation
Plays (non-musical) participation
Dance participation
Literature participation
Participation via broadcast and recorded media
Arts participation via personal performance or creation
Age and arts participation
Racial and ethnic factors in arts participation
Education, socialization, and arts participation
Cross-over patterns in arts participation
We should realize, therefore, that the analysis contained in this report only scratches the surface
of the potentials of the SPPA'92 data for future art planning and development. Data tapes are
available to the widest possible audience and community of arts planners and researchers.
Among the further issues concerning the SPPA'92 data that could not be addressed in this
report are adjustments of the data for income changes between 1982 and 1992 (as well as the
changes in costs of admission to arts events, travel, child care, etc.). Adjustment analysis also
needs to be done for the factor of education, since it appears from our analyses that arts
participation has not kept pace with gains in the educational level of the public.
These analyses should also make it possible to more carefully examine the age-cohort issues
described at the end of Chapter I in the context of specific arts activities. It should be possible
with more extended analyses to construct exact age matches in the 1982 and 1992 data sets and
to examine differences between older and younger "baby boomers" in more detail than has
been possible here.
In particular, we see the need for expanded use of the data on frequency of participation
available for the main arts attendance questions and for viewings of video arts content. The
demographic analyses we have presented in this report are limited in that they do not separate
occasional from frequent arts participants, and our preliminary look at these data reveal
important frequency differences across demographic groups and across arts activities.
These frequency-of-participaUon data touch on central issues related to arts participation. If
10% of the public goes to jazz performances in 1992 as in 1982, but their average number of
attendances drops from 4 to 2, that represents a net loss of 50% in overall arts attendance —
and much smaller net audiences to pay for tickets and sustain live performances.
It is unfortunate that the yearly frequency questions in 1992 cannot be directly compared to
the monthly frequency questions in 1982-85. Indeed the 1992 annual questions do appear to
have been successful in reducing the overall extent of participation, by reducing "telescoping"
in reporting; the concern in telescoping is that the shorter monthly focus may cause some
respondents to overreport participation in that context relative to asking about a longer period
such as the year. That was in fact a major concern about the monthly question in the 1982-85
studies (e.g. Robinson et al., 1986), with evidence that the monthly question gave estimates that
were too high in relation to the responses to the annual questions.
In line with that hypothesis, we find far lower estimates of numbers of annual attendances in
the 1992 data:
APPENDIX TABLE H-l: ESTIMATED NUMBERS OF ANNUAL
ATTENDANCES IN 1982 AND 1992 SPPA DATA
(In Millions of Attendances)
1982
Monthly x 12 months =
1992
Annual
1982/1992
Ratio
Jazz
9.6 x 12 = 115
57
2.0
Classical
13.8 x 12 = 166
60
2.8
Opera
2.3 x 12 = 28
10
2.8
Musicals
12.8 x 12 = 154
74
2.1
Stage Play
8.0 x 12 = 96
60
1.6
Ballet
2.5 x 12 = 30
15
2.0
Art Museum
24.4 x 12 = 293
164
1.8
Thus, for each benchmark activity, we see that the monthly (1982) data generate annualized
estimates of total performances attended that are 1 .6 to 2.8 times larger than those generated
across the year for the annual (1992) question. While that could reflect real audience
differences across the decade, we have reason to believe that it is the question form that is
mainly responsible for these differences and not arts participation behavior itself.
The evidence comes from a small survey experiment conducted in April of 1993 with a sample
of about 1 000 adults in Maryland interviewed by telephone using the two different forms of
a general participation question. Half the respondents were asked about participation using the
1982 monthly format first and then the 1992 yearly format; the other half were asked using the
annual question first and then the monthly question. Consistent with the Table VII. 1 results,
the monthly format question in both groups (after being multiplied by 12 months) generated
annually estimates that were far larger than the yearly estimate. The ratios were 1.8 when the
monthly question was asked first and 1.6 when the annual question was asked first - values
close to the ratios shown in Table VII. 1. Moreover, there was evidence that asking the
monthly question first not only elevated the monthly-annual projections but the annual
estimates themselves. Thus, the monthly question clearly produces inflated estimates relative
to annual question estimates and the inflation factor is sizeable.
That means that with assumptions based on replicated and more detailed experimental data, one
could generate annual frequency data from the 1982 data that could be useful in identifying
whether the total volume of arts activity in key demographic groups (e.g. baby boomers or the
poor) seems to have changed between 1982 and 1992. That would allow greater confidence
in projections of how arts audiences have changed over the last decade in the present report
and how they may change in the future.
We should consider, therefore, that the analysis contained in this report only scratches the
surface of the potential of the SPPA'92 data. With this series of national arts participation
surveys, for the first time we have the ability to make detailed, national comparisons of
patterns of participation over time.
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