AMERICAN PARTICIPATION IN 

OPERA AND MUSiCaL THEATER 

1992 

oni Maya Cherbo and Monnie Peters 

~,esearch Division Report #32 
AMERICAN PARTICIPATION
 

Opera and Musical Theater
 

1992
 
AMERICAN PARTICIPATION
 

Opera and Musical Theater
 

1992
 

Joni Maya Cherbo and Monnie Peters 

Research Division Report #32 

National Endowment for the Arts
 

Seven Locks Press
 

Carson, Cal iforn ia
 
American Participation in Opera and Musical Theater--1992 is Report #32 in a series 

on matters of interest to the arts community commissioned by the Research Division 

of the National Endowment for the Arts. 

Cover: OperaDelaware’s production of Die Fledermaus, with tenor Gerald Grahame 

and soprano Candace Goetz. Photo by John Prettyman. 

First printed 1995 

Library of Congress Cataloging-in-Publication Data 

Cherbo, Joni Maya, 1941-

American participation in opera and musical theater, 1992 / Joni Maya Cherbo 

and Monnie Peters 

ISBN 0-929765-38-9 (pbk.) 

1. Opera--United States--Statistics. 2. Musical theater--United States--

Statistics. 3. Music surveys--United States. I. Peters, Monnie, 1948- II. Title. 

ML3795.C45 1995 

782.1’0973--dc20 95-32894 

CIP 

MN 

Manufactured in the United States of America 

Seven Locks Press 

Carson, California 

1-800-354-5348 
Table of Contents 

List of Figures	 vii
 

List of Tables	 vii
 

Foreword	 xi
 

Introduction
 1 

The 1982 and 1992 SPPAs
 1 

Executive Summary
 3
 

Opera 3
 

Musical Theater/Operetta 6
 

PART I:	 Arts Participation Through Attendance 9
 

High-Frequency Attendees 10
 

Cross-Attendance Among Arts Attendees 10
 

Demographic Characteristics of Opera and
 

Musical Theater Attendees 12
 

Demographic Characteristics of High-Frequency Attendees 30
 

Summary 30
 

PART I1:	 Arts Participation Through Media 34
 

Summary
 39 

PART II1:	 Arts Participation Through Performance, Creation, 

and Study	 41
 

Personal Arts Participation 41
 

Demographic Characteristics of Opera and
 

Musical Theater Attendees Who Are Amateur
 

Arts Participants 46
 

Taking Arts Lessons and Classes 48
 

Summary 54
 

PART IV:	 Leisure Activities-~Artistic and Other
 56
 

Involvement in Other Arts and Cultural Activities
 56
 

Comparing Types of Arts Participation
 57
 

Involvement in Nonartistic Leisure Activities
 58 

Summary
 62 
vi I Contents 

PART V: Attitudes Toward the Arts 

The Desire to Attend More Arts Performances 

Demographic Profiles of Those Who Want to 

Attend More Performances 

Music Preferences 

Summary 

PART VI: Related Research 

Opera 

Musical Theater 

Summary 

APPENDIX A:	 Survey of Public Participation in the Arts 

Questionnaire, 1992 

APPENDIX B:	 Additional Tables and Text on Media 

Participation 

APPENDIX C: Additional Tables on Personal Arts 

Participation and Lessons/Classes 

APPENDIX D: Methodology and Measuring Sampling Error 

Notes 

About the Authors 

Other Reports on the 1992 SPPA 

64 

64 

67 

70 

72 

75 

75 

76 

77 

78 

85 

92 

96 

101 

103 

104 
Contents I vii
 

Figures 

Figure 1. 

Figure 2. 

Figure 3. 

Figure 4. 

Figure 5. 

Figure 6. 

Tables 

Table 1. 

Table 2. 

Table 3. 

Table 4. 

Table 5. 

Table 6. 

Table 7. 

Table 8. 

Table 9. 

Table 10. 

Table 11. 

Opera and Musical Theater Attendanceby Gender,
 

1982 and 1992 14
 

Opera and Musical Theater Attendanceby Marital Status,
 

1982 and 1992 16
 

Opera and Musical Theater Attendanceby Race,
 

1982 and 1992 18
 

Opera and Musical Theater Attendanceby Age,
 

1982 and 1992 21
 

Opera and Musical Theater Attendanceby Place of
 

Residence, 1982 and 1992 25
 

Opera and Musical Theater Attendanceby Education,
 

1982 and 1992 27
 

Attendance Rates and Audience for Selected Arts
 

Activities, 1992 9
 

Changes in Attendance Rates at Selected Arts Activities,
 

1982-1992 10
 

Number and Percentages of High-Frequency Attendees
 

of Selected Arts Activities, 1992 11
 

Cross-Attendance at Eight Selected Arts Activities,
 

1992 (%) 11
 

Attendance at Selected Arts Activities by Gender,
 

1982 and 1992 (%) 13
 

Attendance at Selected Arts Activities by Marital Status,
 

1982 and 1992 (%)
 15
 

Attendance at Selected Arts Activities by Race,
 

1982 and 1992 (%)
 17
 

Attendance at Selected Arts Activities by Age,
 

1982 and 1992 (%) 20
 

Attendance at Selected Arts Activities by Income,
 

1982 and 1992 (%) 22
 

Attendance at Selected Arts Activities by Place of
 

Residence, 1982 and 1992 (%) 24
 

Attendance at Selected Arts Activities by Education,
 

1982 and 1992 (%) 26
 
viii I Contents 

Table 12. 

Table 13. 

Table 14.
 

Table 15.
 

Table 16.
 

Table 17.
 

Table 18.
 

Table 19.
 

Table 20.
 

Table 21.
 

Table 22.
 

Table 23.
 

Table 24.
 

Table 25.
 

Table 26.
 

Table 27.
 

Table 28.
 

Table 29. 

Table 30. 

Table 31. 

Table 32. 

Attendance Rates for Selected Arts Activities by Parents’
 

Education, 1982 and 1992 (%) 29
 

Demographic Characteristics of Opera and Musical
 

Theater Attendees, 1992 31
 

Arts Media Participation and Live Attendance,
 

1982 and 1992 (% of U.S. Adult Population) 35
 

Demographic Characteristics of Opera and
 

Musical Theater Media Participants and Performance
 

Attendees, 1992 (%) 36
 

Selected Arts Attendees’ Participation in Arts
 

via Media, 1992 (%) 38
 

Participation in Arts via Media, 1982 and 1992 (%) 39
 

Rank Order of Amateur Arts Participation, 1992
 42


Rank Order of Amateur-Professional Arts Participation,
 

42
 1992
 

Selected Arts Attendees’ Participation in Amateur Arts,
 

44
 1992 (%)
 

Selected Arts Attendees’ Participation in Amateur-


Professional Arts, 1992 (%) 45
 

Demographic Characteristics of Opera Attendees
 

Who Are Amateur Arts Participants, 1992 (%) 47
 

Demographic Characteristics of Musical Theater Attendees
 

Who Are Amateur Arts Participants, 1992 (%)
 49


Arts Lessons/Classes Taken During Previous Year,
 

1992 (%) 51
 

Age at Which Adult Population and Opera and Musical
 

Theater Attendees Took Arts Lessons/Classes, 1992 (%) 52
 

Percentages of Adult Population and Selected Arts
 

Attendees Who Have Ever Taken Arts Lessons/Classes, 199253
 

Participation in Other Arts and Cultural Activities,
 

56
 1992 (%) 

Adult Population’s Participation in Any Selected Arts 

Activities, Opera Activities, and Musical Theater 

Activities, 1992
 57


Comparison of Types of Arts Participation, 1992 (%) 59
 

Involvement in Non-Artistic/Cultural Activities by Adult
 

Population and Selected Arts Attendees, 1992 (%)
 61


Rank Order of Leisure Activities Among U.S. Adult
 

Population, 1992
 62


Rank Order of Leisure Activities Among Opera and
 

Musical Theater Attendees, 1992 63
 
Contents I ix
 

Table 33. 

Table 34. 

Table 35.
 

Table 36.
 

Table 37.
 

Table B- 1.
 

Table B-2.
 

Table B-3.
 

Table B-4.
 

Table C- 1.
 

Table C-2.
 

Table C-3.
 

Table D- 1.
 

Percentages of Adult Population Who Want to Attend
 

More Selected Arts Performances, 1982 and 1992 64
 

Percentages and Numbers of Adults and Selected Arts
 

Attendees Who Want to Attend More Arts Performances,
 

1992
 66
 

Demographic Characteristics of Those Wanting to Attend
 

More Opera and Musical Theater, 1992 (%) 68
 

Music Preferences, 1982 and 1992 (%) 71
 

Favorite Type of Music, 1982 and 1992 (%)
 73
 

Arts Participation via TV or VCR by Selected Arts
 

Attendees, 1982 and 1992 (%) 86
 

Arts Participation via Tapes/Records/CDs by Selected Arts
 

Attendees, 1982 and 1992 (%) 87
 

Arts Participation via Radio by Selected Arts Attendees,
 

1982 and 1992 (%)
 89
 

Demographic Characteristics of Opera and Operetta/
 

Musical Theater Media Participants, 1992 (%)
 90
 

Amateur Arts Participation by Attendance at Selected Arts
 

Activities, 1982 (%)
 93
 

Amateur-Professional Arts Participation by Attendance at
 

Selected Arts Activities, 1982 (%) 94
 

Arts Lessons/Classes by Attendance at Selected Arts
 

Activities, 1982 and 1992 (%)
 95
 

Sampling Error Calculations: 1992 SPPA Data 100
 
Foreword 

According to OPERA America’s most recent Professional Opera Survey, 

opera companies in the United States collectively spent more than 

$32 million to market performances to current and prospective audiences in 

1994. OPERAAmerica research also reveals, however, that many of these opera 

companies do not engage in a regular program of research. Some companies 

survey current attendees, audience surveys being the preferred method. Few 

companies study the attitudes and behaviors of prospective attendees. 

An illogical and potentially wasteful situation results. Millions of dollars are 

spent to promote opera through brochures and advertising that only guess at 

what it takes to motivate the purchase of a subscription or single ticket. 

The National Endowment for the Arts has taken admirable steps to assist 

the field in learning more about its current audience through the research 

monograph American Participation in Opera and Musical Theater--1992. 

Undertaken in association with the U.S. Bureau of the Census, this monograph 

analyzes arts participation in opera and musical theater/operetta in 1992 and 

compares it with participation 10 years earlier. 

As in any research project, there are definitions and assumptions established 

by the researchers with which professionals working in the field may take issue. 

Similarly, some audience development strategies suggested in the report may 

seem obvious or elementary to the seasoned professional. However, much of 

the data contained in the monograph is informative, thought-provoking, and 

encouraging. 

Consider the following findings: 

Concern over the graying of the audience appears unwarranted. The opera 

audience appears to be perpetuating itself.., the largest proportion of 

today’s audience consists of middle-aged persons (25 to 49 years old), not 

senior citizens. 

Clearly, opera’s appeal surpasses its audience demographics .... The number 

of persons who watch or listen to opera on the media is far greater than the 

number who attend live performances .... Many more individuals claimed 

they wanted to attend more opera than actually attended (7.4 percent 

expressed such a desire in 1982, and 11.0 percent did so in 1992). This 11 

percent of the general population who desired to attend more opera 

consisted of the 1.6 percent who were current opera attendees and 9.3 

percent who were not ....Over 17 million adults are not opera-goers but 

wish to attend. 

xi 
xii I American Participation in Opera and Musical Theater--1992 

 ̄ The... data show a strong relationship between early general arts education 

and adult opera attendance ....[Opera-goers] tend to be introduced to 

music at an early age and stay connected either by attending live performances, playing a musical instrument, or taking voice lessons. 

 ̄ The proportion of Asians who attend opera is larger than their proportion 

in the population as a whole .... In 1992, Asians made up 2.6 percent of 

the adult U.S. population; yet they accounted for 3.7 percent of the general 

opera audience and 14.5 percent of the high-frequency audience. 

 ̄ Opera, like the other [selected arts activities], tends to attract more women 

than men, but the proportion of men has grown significantly since 1982. 

Additional analysis will encourage professionals responsible for building 

audiences. As the report states, "Fondness for opera exceeds what live audience 

numbers indicate." 

Between 1982 and 1992, the percentage of the general public that attends 

opera increased. Indeed, the rate of increase was among the largest of all the arts 

activities studied. The percentage of high-frequency attenders among opera 

audiences--defined as those attending three times or more within a year--is 

lower than for most of the arts activities covered in the study. Increasing repeat 

attendance among current audiences could yield significant gains in earned 

revenue. The report indicates that "almost 3 million adults are opera-goers who 

want to attend more opera." 

Among the arts activities covered in the monograph, opera has the widest 

gap between the rate of participation via the media versus attendance at live 

performances. While 3.3 percent of the adult U.S. population attends opera, 

18.1 percent enjoys opera via the media, representing an enormous potential 

audience base. 

The report verifies many of the audience characteristics that have been 

revealed by surveys administered by opera companies across North America. 

"Opera fans are.., true arts buffs. Opera attendees are more likely than any 

other arts attendee group studied to attend all the other fine arts." 

Yet, the report contains interesting surprises, too, that open up new possibilities for audience development activities: 

Curiously, visual arts activities, not musical activities, predominate among 

opera-goers at the amateur level .... Opera attendees are the most likely of all 

the selected arts attendees to own original art, [or] to have recently purchased 

a piece of art. 

Contemplating their findings, the authors of the monograph pose a challenging question: "How, then, to bring persons to the muse? Understanding 
Foreword I xiii 

the potential audience for opera, how to reach them, and whether they are 

candidates for live productions remain questions for the field." 

Thanks to additional support from the National Endowment for the Arts, 

OPERA America and the agency soon will embark on a multiyear program of 

additional research to answer these questions. The first phase of the initiative 

will investigate the attitudes of first-time ticket buyers. The results of this study 

will be released in 1996. 

This additional research will build on the strong foundation laid by the 

authors of the present monograph. With thanks to them and to the NEA, I 

commend this report to you, knowing it will answer some questions and lead 

to many new ones we will work together to understand. 

Marc A. Scorca 

Executive Vice President and Chief Executive Officer 

OPERA America 
Introduction 

I

n 1982, 1.985, and 1992, the National Endowment for the Arts (NEA) funded 

nationwide surveys conducted by the U.S. Bureau of the Census on arts 

participation among adults in the United States. The purpose of these Surveys 

of Public Participation in the Arts (SPPAs) was to track Americans participation 

in the arts and document other aspects of arts participation. Summary reports 

and secondary analyses for all three surveys are available from the NEA. 

This monograph analyzes participation in opera and musical theater/operetta 

in 1992 and compares it with participation 10 years earlier. It is one of 15 

secondary analyses of the 1992 SPPA. 1 

The 1982 and 1992 SPPAs 

The 1982 survey interviewed 17,254 Americans aged 18 and over. Respondents were part of a larger survey that used revolving panels. The SPPA portion 

was administered for each of the 12 months of 1982. The response rate was over 

85 percent. Three-fourths of the respondents were interviewed in person, the 

remainder by telephone. The demographic data were weighted to reflect U.S. 

population characteristics so that the results could be projected to the total U.S. 

population. 

The 1992 survey interviewed 12,736 Americans aged 18 years and older. 

Respondents were part of an ongoing larger, monthly survey that used revolving 

panels of approximately 1,000 persons each. The response rate was 80 percent. 

Three-fourths of the interviews were by telephone, one-fourth were conducted 

in person. As in 1982, the data were weighted to reflect the U.S. population. 

Survey questions covered several aspects of arts participation, including live 

attendance, watching or listening via the media, and creating and performing 

art. Questions also asked about background characteristics of respondents, 

nonartistic and other leisure activities, and attitudes toward the arts. Many of 

the questions facilitated comparisons between 1982 and 1992 data; others did 

not. The 1992 questionnaire asked more in-depth questions on arts participation.2 Despite these limitations, many instructive comparisons between the two 

sets of data were possible. 

Musical theater/operetta and opera are two distinct art forms among eight 

that were covered in the 1992 survey. The other art forms were classical music, 

jazz, plays, ballet, other dance forms, and art museums) These "selected arts 

activities," or "benchmark arts activities," were considered core arts, although 
2 I American Participation in Opera and Musical Theater--1992 

the survey also included participation in many other art forms, such as photography and sewing. Throughout this monograph, the phrases "benchmark arts 

activities" and "selected arts activites" are interchangeable. 

Opera is generally considered a musical drama that is sung in its entirety 

without spoken dialogue, while musical theater/operetta is both sung and 

spoken. Certain productions have blurred this distinction. For instance, Phantom of the Opera, though done entirely in song, is considered musical theater; 

The Houston Grand Opera produced Showbaat, a musical. Yet the difference 

between the two forms is fairly well accepted within the popular vernacular. 

Thus, confusion in answering the survey questions regarding these two art forms 

would be miniscule. 

This monograph discusses four ways in which an individual can participate 

in the arts: (1) attending arts events; (2) watching or listening to arts programs 

on the media; (3) creating, performing, or displaying an art; and (4) studying 

the arts in classes. First we look at aspects of each means of participation 

individually, then we examine their interrelationships. The demographic backgrounds of arts participants are reviewed. We look at participation in arts other 

than the benchmark activities and compare participation in artistic versus 

nonartistic activities. We review select attitudes toward the arts and offer some 

observations on marketing the arts. Finally, we look at studies done by arts 

service organizations and others related to opera and musical theater attendance. 
Executive Summary
 

OPera and musical theater/operetta are both musical and dramatic art 

forms. However, our findings indicate that they are very different in terms 

of popularity and the type of persons they attract. Therefore, this summary 

addresses each separately. 

Opera 

Participation 

Opera is the least popular of the fine arts. Between 1982 and 1992 it 

remained the least attended of all the arts surveyed in the SPPA (see Tables 1 

and 2). In 1992, only 3.3 percent of the population, representing 6.1 million 

persons, attended opera at least once during the year before the survey date.4 

Similarly, in 1992 opera ranked lowest of all the selected arts activities in 

overall rates of media participation (see Table 14). A total of 18.1 percent of 

the population, or 33.6 million adults, watched or listened to opera on the 

media. 

Opera ranked 13th in popularity among 14 amateur arts activities (see Table 

18). The survey data show that 1.2 percent of the adult population, or 2.23 

million persons, sang opera either as a hobby or for a public performance. 

Combining these three dimensions of arts participation, we find that overall 

opera participation involved 18.7 percent of the adult population, or 34.7 

million persons (see Table 28). Many people participated in more than one 

dimension: for example, of those who went to live performances, over two-thirds 

(66.8 percent) also watched and/or listened to opera via the media, and 8.1 

percent also sang opera. 

Though opera remains the least frequented of all the fine arts, between 1982 

and 1992, the actual number of persons involved increased. The proportion of 

adults attending opera increased by 0.3 percentage points. As well, the U.S. 

adult population grew by over 21 million persons. Thus in 1992, 6.1 million 

persons attended live opera versus 4.9 million in 1982. 

Overall opera media participation also grew slightly during this 10-year 

period, from 17.4 percent in 1982 to 18.1 percent in 1992. Because of the 

population growth, the actual number of persons enjoying opera via the media 

rose from 28.6 million persons to 33.6 million. 

3
 
4 [ American Participation in Opera and Musical Theater--1992 

When asked which of the selected arts activities they would like to attend 

more often, opera is the last choice among both the general population and 

among selected arts attendees. 

Arts Involvement 

While the numbers of adult Americans involved in opera are relatively few, 

the extent of their involvement in the arts in general is substantial. Opera fans 

are the artistic elite and true arts buffs. Opera attendees are more likely than any 

other arts attendee group to attend allthe other fine arts. More of their numbers 

attend musicals, classical music concerts, jazz performances, plays, ballet, other 

dance performances, and art museums. They are also more likely than all other 

arts attendees to express a desire to attend more of all of the other fine arts. 

Music is introduced early in the lives of opera-goers. In comparison with 

the other arts attendees, opera-goers are more likely to have taken music lessons 

(either voice training or playing an instrument) before age 18. Over 79 percent 

of those who took music lessons did so before they were 18 years old. 

Music in general seems to pervade the lives of opera-goers. Asked about 21 

different types of music in both 1982 and 1992, opera-goers showed a significant interest in more types of music than any other arts attendee group. 

Demographic Profiles 

Looking at the demographic profiles of opera attendees, we find that in 

comparison with other arts-goers, they are better educated, wealthier, and 

somewhat older. Opera audiences are predominantly white, college educated, 

suburban residents; 55 percent of the audience are female; the majority are 

married; and over 45 percent have incomes over $50,000. While this profile 

characterizes the opera audience, it does not describe the wide spectrum of 

individuals who attend opera. 

More men and Asians were in the opera audience in 1992 than in 1982, as 

were more central-city dwellers. The education level of opera attendees rose, as 

did the proportion of attendees with high incomes. This profile is exaggerated 

for high-frequency opera attendees: more of their numbers are older, Asian, and 

almost half have postcollege education and are in the highest income bracket 

(see Table 13). 

Concern over the graying of the audience appears unwarranted. The opera 

audience appears to be perpetuating itself. Younger persons are attending in 

about the same proportions in 1992 as they did in 1982, and the largest 

proportion of today’s audience consists of middle-aged persons (25 to 49 years 

old), not senior citizens. 
Executive Summary I 5 

The number of persons who watch or listen to opera on the media is far
 

greater than the number who attend live performances (18.1 percent versus
 

3.3 percent). Media accessibility allows for a much wider audience. The 

demographic profile of opera media participants differs from attendees in that 

more elderly, less affluent, more rural, and fewer highly educated persons are 

involved with opera via the media. From this profile, we can conclude that 

opera has a wider appeal than live audience numbers alone indicate. It suggests 

that barriers such as cost and accessibility may continue to limit attendance at 

live performances. 

While media demographics suggest that barriers to live attendance exist, 

other factors should also be considered. Over the last 10 years technological 

advances in media have been significant. Music listening in general has risen in 

the United States. Opera is more available on videos, CDs, and tape cassettes. 

Yet increased availability does not seem connected with greater media involvement, as opera media participation has remained fairly stable between 1982 and 

1992, rising less than 1 percentage point. 

Rather it appears that a substantial portion of the population who are opera 

listeners or watchers are not predisposed to attend live opera. They prefer to 

hear or see opera more casually in the privacy of their homes and cars. They 

may be predominantly listeners rather than viewers. What may engage them is 

the music, not the visual drama. 

Expanding Audiences 

The thrust among the opera organizations has been to expand opera 

audiences. Significant thought and funds have been devoted to this end, but 

with modest success. Introducing and expanding access to opera music both for 

adults and children might be more productive. Attendance may be a logical next 

step for those individuals who find opera music compelling. Many more 

individuals claimed they wanted to attend more opera than actually attended 

(7.4 percent expressed such a desire in 1982, and 11.0 percent did so in 1992). 

This 11 percent of the general population who desired to attend more opera 

consisted of 1.6 percent who were current opera attendees and 9.~5 percent who 

were not. 

Demographic profiles of current opera-goers who said they wanted to attend 

more opera are similar to the profiles for current attendees in general, although 

there are higher percentages of Asians, older persons, and suburban residents. 

Among the aspirants who do not currently attend, however, more tend to be 

female, Hispanic, older, less well educated, and less affluent. 

Clearly, opera’s appeal surpasses its general audience profile. How, then, to 

bring persons to the muse? Understanding the potential audience for opera, how 
6 I American Participation in Opera and Musical Theater--1992 

to reach them, and whether they are candidates for live productions remain 

questions for the field. The SPPA data suggest possible avenues to explore in 

this regard. 

The field could look at groups whose profiles are not those of opera’s 

mainstream attendees: for example, attendees who express the desire to attend 

more, especially infrequent goers; nonattendees who attend other selected arts 

events; opera media buffs; those who sing opera but do not attend. Barriers to 

attendance identified by the field, such as cost, travel, age, intimidation, and so 

forth, have to be factored into audience development. 

Both K-12 and adult education programs have to be considered as a means 

of introducing persons to operatic music and drama. Without exposure potential opera buffs could be stillborn. The SPPA data show a strong relationship 

between early general arts education and adult opera attendance. Opera education within a general arts education might strengthen this connection. 

Musical Theater/Operetta 

Participation 

Musical theater is a true American art form both in terms of its popularity 

and the type of individuals it draws. Second only to art museums in popularity, 

musical theater/operetta draws 17.4 percent of the adult population, or 32.3 

million persons. 

In contrast to opera, musical theater/operetta’s primary appeal is live 

performance. Media participation for musicals is about equal to live attendance: 

20.6 percent, or 38.3 million adults. Singing musicals/operettas as an amateur 

activity is not very popular, engaging only 3.8 percent of the population. 

Arts Involvement and Demographic Profiles 

As is the case with opera, the significance of early arts education emerged 

in the SPPA data. While 57.4 percent of the general population had taken arts 

lessons or classes at some point in their lifetime, 82.2 percent of musical theater 

attendees had done so; 70.6 percent of those who had taken music or voice 

lessons had done so before age 18. An early introduction to the arts appears to 

be an important factor in producing adult arts participants. 

Demographic profiles of attendees are closer to the profiles of the American 

public in general than are the profiles of any of the other selected arts attendees. 

In other words, the American musical theater audience is most representative 

of the American population. 
Executive Summary I 7 

The typical musical theater attendee is a white, married, female, suburban
 

resident between the ages of 25 and 54, college educated, with an income
 

between $25,000 and $49,999. This profile changed little between 1982 and
 

1992, except that more of the audience is in the 45-to-54 age bracket.
 

Expanding Audiences 

Musical theater’s popularity is further substantiated by the numbers who 

want to attend more musicals. In both 1982 and 1992, SPPA respondents 

picked musicals and art museums as their top two choices among the selected 

art forms they would like to attend more of. Also, the desire to attend more 

musical theater grew by 3.8 percentage points during the period. In 1992, 36.2 

percent of the population (over 67 million adults) said they wanted to attend 

more musical theater. 

More than twice the number of people wanted to attend more musical 

theater as actually attended (36.2 percent versus 17.4 percent). Among the 

aspirants, about one-third were already attendees, and two-thirds did not attend. 

While the profiles of musical theater-goers who want to attend more frequently 

parallel those of current goers, profiles of nonattendees showed a higher 

proportion of Asians, older folks, less educated persons, less affluent persons, 

and rural residents. 

Once again, significant barriers appear to keep some people from attending. 

But other factors must be considered as well. Attendance at musical theater 

decreased between 1982 and 1992 by 1.2 percentage points. In addition, 

listening to and watching musicals via the media dropped by 4.8 percentage 

points (see Table 14). The decreased demand represented by these statistics may 

be due to decreased supply. The number of new musicals produced continued 

to drop during the 1982-1992 period from its all-time high in the early 1980s. 

Fewer revivals were produced as well. Yet the SPPA study indicates that the 

demand for musicals remains high. 

On the surface it appears as if the American public adores musicals. Many 

more would attend if factors such as cost and accessibility were not issues. And 

even more would perhaps attend if new musicals were produced. The research 

and development branches of the American musical theater industry need to 

proceed accordingly. Encouraging new writers and composers and bringing new 

musicals to fruition might spawn a new efflorescence in musical theater. 

In sum, opera and musical theater are alive and well in the United States. 

Live opera and opera music command a small but consistent group of devotees 

who have replenished themselves over the decade. Evolving out of an amalgam 

of European opera and American vaudeville, musical theater has become a 
8 I American Participation in Opera and Musical Theater--1992 

popular American art form, one of the most favored of the fine arts, and one 

whose audience is most representative of the larger population. Both opera and 

musical theater appeal to a wider audience than presently attends. Both have 

room to grow! 
Arts Participation 

Through Attendance 

Opera and musical theater/operetta were two of the seven benchmark arts 

activities covered in each of the SPPA surveys. An eighth arts activity, 

"other dance," was added in the 1992 SPPA. Table 1 shows the attendance rate 

and audience size for each of the benchmark arts activities in 1992. Attendance 

rates were computed from the SPPA survey questions that asked respondents 

whether they had attended each of the selected arts within the last 12 months 

and if so, how often. Audience size was computed by multiplying attendance 

rates for each selected art by the U.S. adult population of 185.838 million 

persons in mid-1992. As the data make clear, opera and musical theater are 

almost at opposite ends of the attendance spectrum. Opera has the lowest 

attendance rate and draws a small audience (about 6.1 million adults), while 

musical theater has an attendance rate and audience (more than 32.3 million 

adults) exceeded only by art museums. 

Table 2 shows the changes in rates of attendance between 1982 and 1992. 

The rank order of the selected arts activities remained consistent. 

Overall, 42.5 percent of the adult United States population attended at least 

one of the selected arts activities in 1992. Excluding "other dance," which was 

not a category in 1982, the rate for attendance at benchmark arts activities is 

41.3 percent. This represents an increase of approximately 2 percentage points 

over the 1982 attendance rate of 39 percent. 

TABLE 1.	 Attendance Rates and Audience for
 

Selected Arts Activities, 1992
 

Attendance Rate Estimated U.S.
 

Arts Activity
 (%) Audience (millions) 

Opera 3.3	 6.1 Ballet 4.7 8.7 Other dance 7.1 13.2 

Jazz	 10.6 19.7 Classical music 12.5 23.2
 

Plays 13.5
 25.1 Musicals 17.4 32.3 Art museums 26.7 49.6 Any selected arts activities 42.5 79.0 
10 I American Participation in Opera and Musical Theater--1992 

TABLE 2.	 Changes in Attendance Rates at Selected Arts
 

Activities, 1982-1992
 

Attendance Rate (%) Change
 

Arts Activity 1982 1992 1982-92
 

Opera 3.0 3.3 0.3
 

Ballet
 4.2 4.7 0.5
 

Other dance
 * 7.1 *
 

Jazz
 9.6 10.6 1.0
 

Classical music 13.0 12.5 -0.5
 

Plays	 11.9 13.5 1.6
 

Musicals 18.6 17.4
 -1.2


Art museums 22.1 26.7 4.6
 

Any of seven selected arts activities~ 39.3 41.3 2.0
 

Note: Information is statistically significant at the 95% confidence level
 

(see Appendix D).
 

*The 1982 survey did not include "other dance."
 

fComparison of any selected art includes all arts except "other dance."
 

High-Frequency Attendees 

Frequent attendees tend to be the "hard core," those for whom attending 

an artistic form is a preferred activity or a vocational pursuit. They are also the 

mainstay of artistic organizations. Table 3 presents numbers and percentages 

for high-frequency attendees--those who went three times or more to a given 

art form during the year. 

While one might expect the more rarefied art forms, such as opera and ballet, 

to have the highest proportion of high-frequency attendees, art museums have 

the highest number of"repeaters." Among opera attendees, 15.2 percent of the 

3.3 percent who attended opera in 1992, or about 930,000 individuals (0.5 

percent of the general population), were high-frequency attendees. 

Among musical theater attendees, 22.4 percent of the 17.4 percent who 

attended musical theater in 1992, or about 7.25 million persons (3.9 percent 

of the general population), were high-frequency attendees. 

Cross-Attendance Among Arts Attendees 

Individuals tend to frequent more than one art form. While one might 

expect that attendees of the various selected arts activities would differ in their 
 

 

Arts Participation Through Attendance I 11 

TABLE 3.	 Number and Percentages of High-Frequency
 

Attendees of Selected Arts Activities, 1992
 

High-Frequency 

Attendance (3+ times) Attendees Estimated # 

Rate Among (millions) of 

General % of % of General Frequent
 

Arts Activity Population (%) Attendees Population Attendees*
 

Opera 3.3 15.2 0.5 0.929
 

Musicals 1 7.4 22.4 3.9 7.248
 

Classical music 12.5 30.4 3.8 7.062
 

Jazz 10.6 30.2 3.2 5.947
 

Plays 13.5 27.4 3.7 6.876
 

Ballet 4.7 10.6 0.5 0.929
 

Other dance 7.1 21.1 1.5 2.788
 

Art museums 26.7 35.2 9.4 17.469
 

*Based on a total national adult population of 185.838 million 

preferences for other arts activities, attending art museums and musicals uniformly appealed to all. Among attendees of each of the selected arts, the highest 

proportion attend art museums, followed by musical theater. Thereafter, the 

choices among the arts attendees differed, as shown in Table 4. 

Attending opera is the last choice among attendees of the other selected arts. 

Opera-goers, however, are true arts buffs. (Ballet patrons rank second.) They 

TABLE 4.	 Cross-Attendance at Eight Selected Arts
 

Activities, 1992 (%)
 

Musical Classical Other Art 

Opera Theater Music Jazz Plays Ballet Dance Museums 

Opera -- 11.7 16.3 10.9 11.7 21.4 10.2 8.9 

Musicals 62.3 -- 51.4 44.0 53.2 54.0 43.6 38.7 

Classical music 62.2 36.8 -- 39.1 40.0 51.2 39.0 31.5 

Jazz 35.2 26.8 33.3 -- 33.3 34.4 32.3 25.3 

Plays 48.1 41.1 43.2 39.7 -- 45.5 36.5 32.0 

Ballet 30.2 14.5 19.1 15.1 15.7 -- 18.9 12.3 

Other dance 22.1 17.9 22.3 21.7 19.4 29.0 -- 16.9 

Art museums 72.3 59.3 67.3 63.7 63.4 70.7 63.2 --

Note: Read table down. For example, among those who attend opera,72.3% also
 

attend art museums.
 
12 I American Participation in Opera and Musical Theater--1992 

personify the concept "the more, the more" in arts attendance, being more likely 

to attend six of the other selected arts activites ("other dance" being the 

exception) than any of the other selected arts attendees. Musical theater attendees (along with art museum patrons) are least likely to go to the other art forms. 

Demographic Characteristics of Opera and 

Musical Theater Attendees 

The 1982 and 1992 SPPAs examined arts attendance according to seven 

demographic variables: gender, marital status, race, age, income, residential 

location, and education level of both the attendees and their parents. 

Gender 

Table 5 presents the data regarding gender among attendees of the selected 

arts activities. For all the art forms except jazz, women attendees outnumber 

men. This gender gap is about 10 percentage points for all selected arts activities 

except "other dance" and 1992 attendance at art museums. 

Opera is attracting more men than in years past. In 1982, the opera 

attendance rate for women was 16.2 percentage points greater than the rate for 

men; but by 1992, the gender gap had narrowed to 10 percentage points. In 

1992, the percentage of men attending opera increased by 3.1 percentage points. 

(See Figure 1.) 

The gender gap for musical theater was tipped toward women by more than 

16 percentage points in 1982 and about 17 percentage points in 1992, remaining fairly constant over the decade. 

Compared with the other surveyed arts, musical theater falls in the middle 

in terms of the proportion of women to men. Ballet performances attract 

significantly more women than men, and art museums attract a more equal 

contingent of both sexes. 

Marital Status 

Statistics on the marital status of most of the arts attendees, including those 

who attend opera and musical theater, remained relatively consistent between 

1982 and 1992, and they tend to follow the general population profile. As 

shown in Table 6, well over 50 percent of all attendees except those for jazz are 

married, about 24 percent never married, about 6 percent are widowed, more 

than 9 percent are divorced, and about 2 percent are separated. Only the 

proportion of divorced persons has risen slightly, by about 2 percentage points. 
Arts Participation Through Attendance I 13 

TABLE 5.	 Attendance at Selected Arts Activities by Gender,
 

1982 and 1992 (%)
 

U.S. Adult Population	 Male Female Total 

1982 164,575,000 47.1 52.9 100.0 

1992 185,838,000 47.9 52.1 100.0 

Attendance Rate
 

Among U.S. Adult
 

Arts Activity Population
 

Opera	 1982 3.0 41.9 58.1 100.0
 

1992 3.3 45.0 55.0 100.0
 

Musicals	 1982 18.6 41.9 58.1 100.0
 

1992 17.4 41.5 58.5 100.0
 

Classical music	 1982 13.0 40.7 59.3 100.0
 

1992 12.5 44.1 55.9 100.0
 

Jazz	 1982 9.6 50.4 49.6 100.0
 

1992 10.6 53.6 46.4 100.0
 

Plays	 1982 11.9 42.6 57.4 100.0 

1992 13.5 43.6 56.4 100.0 

Ballet	 1982 4.2 30.0 70.0 100.0 

1992 4.7 36.9 63.1 100.0 

Other dance*	 1982 ....
 

1992 7.1 45.2 54.8 100.0
 

Art museums	 1982 22.1 44.8 55.2 100.0
 

1992 26.7 47.5 52.5 100.0
 

Note: All the tables in this section on demographics read across. For example, of the
 

3.3% of the general population who attended opera in 1992, 45% were male and
 

55% were female.
 

*The 1982 survey did not include "other dance."
 

This reflects a comparable change in the general population from 1982 to 1992. 

(See Figure 2.) 

Race 

As shown in Table 7, significantly more whites than nonwhites attend the 

selected arts activities, but a notable increase in nonwhite attendance occurred 

between 1982 and 1992. Though this is a noteworthy trend, the data do not 

show which racial groups experienced an increase. The 1992 questionnaire 
14 I American Participation in Opera and Musical Theater--1992 

FIGURE 1. Opera and Musical Theater Attendance
 

by Gender, 1982 and 1992
 

180. 

58.1% 55.0%

45.0% 

1982 1992 1982 1992 1982 1992
 

General population Musical theater attendees Opera attendees
 

male ~ female I
 
Arts Participation Through Attendance I 15 

TABLE 6.	 Attendance at Selected Arts Activities by Marital
 

Status, 1982 and 1992 (%)
 

Never 

U.S. Adult Population Married Widowed Divorced Separated Married Total 

1982 164,575,000 62.8 7.6 6.3 2.6 20.6 99.9 

1992 185,838,000 58.8 7.2 8.7 2.9 22.3 99.9 

Attendance
 

Rate Among
 

U.S. Adult
 

Arts Activity Population
 

Opera	 1982 3,0 54.0 8.2 7.3 2.0 28.5 100.0 

1992 3.3 57.9 6.4 9.4 2.1 24.1 99.9 

Musicals	 1982 18.6 62.4 5.5 7.0 2.0 23.0 99.9 

1992 17.4 59.3 5.9 9.4 2.1 23.3 100.0 

Classical 1982 13.0 58.9 6.4 8.7 1.9 24.1 100.0 

music 1992 12.5 57.8 5.8 10.0 2.0 24.4 100.0 

Jazz	 1982 9.6 44.3 1.9 9.7 3.3 40.8 100.0 

1992 10.6 48.1 3.0 13.1 2.6 33.3 100.1 

Plays	 1982 11.9 60.1 5.0 7.6 2.1 25.2 100.0 

1992 13.5 56.3 6.0 10.0 1.7 26.1 100.1 

Ballet	 1982 4.2 53.7 5.5 9.1 2.0 29.7 100.0 

1992 4.7 53.6 4.3 11.7 2.4 28.0 100.0 

Other 1982 .......
 

dance* 1992 7.1 52.6 5.7 10,7 2.5 28.5 100.0
 

Art 1982 22.1 60.6 4.0 7.5 2.1 25.7 99.9 

museums 1992 26.7 56.9 3.9 9.8 2.3 27.0 99.9 

Note: Not all percentages add up to 100.0% due to rounding.
 

*The 1982 survey did not include the category "other dance."
 

separated Hispanic, Native American, and Asian from the "other" category. The 

1982 questionnaire did not break down the "other" race category, and most 

Hispanics were coded under the category "white." The increase in the number 

of nonwhite attendees between 1982 and 1992 is a marked trend in the arts, 

indicating a growing pool of potential arts-goers. (See Figure 3.) 

The data indicate that 15.3 percent of the audience for opera in 1992 was 

nonwhite; blacks accounted for 6.6 percent, Hispanics for 4.4 percent, Asians 

for 3.7 percent, and Native Americans for 0.6 percent. The proportion of Asians 
 

 

16 I American Participation in Opera and Musical Theater--1992 

FIGURE 2. Opera and Musical Theater Attendance
 

by Marital Status, 1982 and 1992
 

2.9% 

80.0­

15.0. 

/ 

2.1% 

2.0% 9.4% 

7,3% 6,4% 

8,2% 

7" 1982 1992 I 

1982 1992 1982 1992 

General population Musical theater attendees Opera attendees 

married ~ widowed J---I divorced J
 

separated [~ never married
 I 

Note: Not all percentages add up to 100% due to rounding. 
 

 

Arts Participation Through Attendance I 17 

TABLE 7. Attendance at Selected Arts Activities by Race, 

1982 and 1992 (%) 

1992 Breakdown of 

"Other" Category* 

Native 

U.S. AdultPopulation White Black Other Total HispanicAmer. Asian 

1982 164,575,000 87.1 10.6 2.3 100.0 

1992 185,838,000 (1982 f ....t/ 85.5 11.3 3.2 100.0 

(1992 format/ 77.5 11.2 11.4 100.1 8.3 0.5 2.6 

Attendance
 

Rate Among
 

U.S. Adult 

Arts Activity Population 

Opera	 1982 3.0 93.0 4.7 2.3 100.0 

1992 3.3 89.0 6.6 4.5 100.1 

1992 3.3 84.7 6.6 8.7 100.0 4.4 0.6 3.7 

Musicals	 1982 18.6 92.7 5.7 1.6 100.0 

1992 17.4 88.8 9.3 2.0 100.1 

1992 17.4 84.7 9.2 6.2 100.1 4.2 0.4 1.6 

Classical 1982 13.0 92.9 5.4 1.6 99.9 

music 1992 12.5 90.7 6.3 3.1 100.1 

1992 12.5 87.0 6.2 6.9 100.1 3.8 O.4 2.7 

Jazz	 1982 9.6 80.9 17.1 2.0 100.0 

1992 10.6 81.1 17.3 1.6 100.0 

1992 10.6 76.6 17.1 6.2 99.9 4.6 0.4 1.2 

Plays	 1982 11.9 93.4 5.1 1.5 100.0 

1992 13.5 87.5 10.2 2.3 100.0 

1992 13.5 82.4 10.0 7.6 100.0 5.3 0.7 1.6 

Ballet	 1982 4.2 93.8 4.2 2.0 100.0 

1992 4.7 89.7 6.6 3.7 100.0 

1992 4.7 83.8 6.3 9.9 100.0 6.2 0.1 3.6 

Other 1992 7.1 84.4 11.6 4.1 100.1 

dancef 1992 7.1 76.9 11.2 12.0 100.1 8.0 1.7 2.3 

Art 1982 22.1 91.3 5.9 2.8 100.0 

museums 1992 26.7 88.5 8.1 3.4 100.0 

1992 26.7 83.2 8.1 8.7 100.0 5.4 1.5 2.8 

Note: Not all percentages add up to 100.0% due to rounding.
 

*The 1982 survey did not break down the "other" race category; it also did not
 

include Hispanic (much of the Hispanic population was included under "white")
 

because Hispanic is an ethnic grouping, not a race grouping.
 

fThe 1982 survey did not include the category "other dance."
 
 

18 I American Participation in Opera and Musical Theater--1992 

FIGURE 3. Opera and Musical Theater Attendance
 

by Race, 1982 and 1992
 

I 

I 

4.5% 

2,3% 

6.6% 4.7% 

1982 1992 

General population I 

1982 1992 1982 1992 

Musical theater attendees Opera ~:endees 

[ ~-/’~ white ~ black ~ other 

Note: Not all percentages add up to 100% due to rounding. 
Arts Participation Through Attendance I 19 

who attend opera is larger than their proportion in the population as a whole 

(3.7 percent versus 2.6 percent). 

The 1992 audience for musical theater performances was 15.4 percent 

nonwhite. Blacks accounted for 9.2 percent, Hispanics for 4.2 percent, Asians 

for 1.6 percent, and Native Americans for 0.4 percent. 

Racial groups seem to have distinct preferences among the selected arts 

activities. Asians make up larger segments of the opera and ballet audiences than 

they do for the other arts; blacks are more likely to attend jazz than the other 

arts activities; Native Americans appear to prefer "other dance" performances 

and art museums; and Hispanics favor "other dance." 

Age 

Data for both 1982 and 1992 show that opera attendees tend to cluster in 

the middle-age categories, from 25 to 54 years old. As Table 8 indicates, this 

segment accounted for 58.3 percent of the audience in 1982 and 59.7 percent 

in 1992. In 1982, the opera audience was older than the audiences for every 

other selected arts activity, having a higher percentage in each age category from 

45 years up. This distinguishing characteristic of the opera audience was less 

pronounced in 1992. In contrast, older attendees (those 45 years old or older) 

of classical music performances increased dramatically, from 40.9 percent in 

1982 to 49.6 percent in 1992. (See Figure 4.) 

Though seniors, those aged 75 and older, account for 6.6 percent of the 

adult population, few attend the surveyed art forms. Those who do attend make 

up a larger share of the audience for opera than for any other selected arts 

activity except classical music (3.5 percent versus 4.5 percent). In both 1982 

and 1992, persons aged 18 to 24 and 25 to 34 accounted for a smaller 

proportion of the audience for opera than for any other surveyed art form 

except classical music. However, the proportion of the opera audience in these 

age groups remained more consistent between 1982 and 1992. In other words, 

opera appears to be drawing younger persons to its ranks at the same rate as it 

did in 1982. 

The musical theater audience looks like the general population in terms of 

age. The bulk of the audience is 25 to 54 years old (61.2 percent in 1982 and 

62.7 percent in 1992). Musical theater lost some of its younger audience 

between 1982 and 1992. Audience share decreased by 3.7 percentage points 

among those aged 18 to 24 and 4.1 percentage points among those aged 25 to 

34. This was offset by an increase in audience share among older attendees, in 

particular by an increase of 3.6 percentage points among those 45 to 54 years 

of age. 
20 I American Participation in Opera and Musical Theater--1992 

TABLE 8.	 Attendance at Selected Arts Activities by Age,
 

1982 and 1992 (%)
 

Age Group Distribution 

U.S. Adult Population 18-24 25-34 35-44 45-54 55-64 65-74 75+ Total 

1982 164,575,000 1 7.4 23.5 16.7 13.5 13.4 9.7 5.9 100.1
 

1992 185,838,000 13.0 22.8 21.4 14.9 11.4 9.9 6.6 100.0
 

Attendance
 

Rate Among


U.S. Adult
 

Arts Activity Population
 

Opera	 1982 3.0 11.2 20.4 20.2 17.7 15.5 11.2 3.8 100.0
 

1992 3.3 10.7 19.0 21.5 19.2 14.0 12.1 3.5 100.0
 

Musicals	 1982 18.6 15.5 25.0 20.7 15.5 13.4 7.2 2.8 100.1
 

1992 1 7.4 11.8 20.9 22.7 19.1 12.6 9.5 3.3 99.9
 

Classical 1982 13.0 14.7 23.5 21.0 15.5 13.2 9.0 3.2 100.1
 

music 1992 12.5 10.7 18.5 21.2 20.0 14.0 11.1 4.5 100.0
 

Jazz	 1982 9.6 31.8 35.2 13.4 9.8 6.8 2.0 0.8 99.8
 

1992 10.6 13.8 28.9 25.7 15.2 8.9 6.0 1.4 99.9
 

Plays	 1982 11.9 15.7 23.9 21.5 15.3 12.9 8.1 2.6 100.0
 

1992 13.5 12.7 20.6 22.0 19.0 12.6 9.7 3.3 99.9
 

Ballet	 1982 4.2 16.3 27.0 23.5 12.1 11.9 6.9 2.2 99.9
 

1992 4.7 14.8 23.6 22.5 16.0 11.7 8.6 2.7 99.9
 

Other 1982 .........
 

dance* 1992 7.1 14.4 22.8 23.7 14.6 11.9 9.0 3.6 100.0
 

Art 1982 22.1 17.9 28.2 20.4 13.5 11.4 6.4 2.2 100.0
 

museums 1992 26.7 14.0 25.1 23.8 16.4 10.6 7.5 2.6 100.0
 

Note: Not all percentages add up to 100.0% due to rounding.
 

*The 1982 survey did not include the category "other dance."
 

Income 

Comparing income differences among arts attendees between 1982 and 

1992 is problematic. An adequate interpretation of differences between the 

years would have to take into account inflation, which between 1982 and 1992 

was 45.4 percent, according to the Consumer Price Index (CPI).5 The income 

categories in the questionnaire are not adjusted for inflation. However, a rough 
 

 

Arts Participation Through Attendance I 21 

FIGURE 4. Opera and Musical Theater Attendance 

by Age, 1982 and 1992 

140.0­

12.6% 

60.( 

40.( 

1982 1992 

General population 1982 1992 1982 1992 

Musicat theater attendees Opera attendees 

Note: Not all percentages add up to 100% due to rounding. 
 

 

 

 

22 I American Participation in Opera and Musical Theater--1992 

comparison of the highest income brackets in both years can be made. The 

highest annual income bracket in the 1982 questionnaire was $50,000 and 

over. Those in that category can be roughly compared with those making 

$75,000 and over in 1992. (Adjusted for inflation, those making $50,000 and 

over in 1982 would have been comparable to those making $72,700 and over 

in 1992.) 

Comparing the data for 1982 and 1992 in every selected art form, as shown 

in Table 9, the percentage of the audience in the highest income bracket 

TABLE 9.	 Attendance at Selected Arts Activities by Income,
 

1982 and 1992 (%)
 

Income Category Distribution 

$0- $15,000- $25,000- $50,000- $75,000 

U.S. Adult Population $14,999 24,999 $49,000 $74,999 and over Total 

1982 164,575,000 41.7 28.0 25.4 5.0 * 100.1
 

1992 185,838,000 25.2 19.3 36.6 11.9 7.0 100.0
 

Attendance
 

Rate Among
 

U.S. Adult
 

Arts Activity Population
 

Opera	 1982 3.0 26.4 20.4 35.9 17.3 -- 100.0
 

1992 3.3 12.8 11.3 29.2 20.3 26.4 100.0
 

Musicals	 1982 18.6 24.4 25.8 38.2 11.7 -- 100.1
 

1992 17.4 10.9 15.7 37.1 19.2 17.1 100.0
 

Classical 1982 13.0 28.2 24.2 35.9 11.7 -- 100.0
 

music 1992 12.5 11.3 16.5 37.2 18.9 16.2 100.1
 

Jazz	 1982 9.6 33.8 26.6 30.9 8.6 99.9
 

1992 10.6 12.4 16.2 39.2 17.5 14.6 99.9
 

Plays	 1982 11.9 24.2 24.1 37.8 13.8 99.9
 

1992 13.5 12.6 15.7 37.4 17.5 16.7 99.9
 

Ballet	 1982 4.2 26.4 24.7 36.0 12.9 -- 100.0
 

1992 4.7 12.3 12.1 36.9 20.0 18.6 99.9
 

Other 1982 ......
 

dancet 1992 7.1 16.2 18.5 41.3 14.7 9.4 100.1
 

Art 1982 22.1 27.7 26.4 35.2 10.7 -- 100.0
 

museums 1992 26.7 12.4 16.9 39.3 18.2 13.2 100.0
 

Note: Not all percentages add up to 100.0% due to rounding.
 

*The 1982 survey’s highest income category was $50,000 and over.
 

¢The 1982 survey did not include the category "other dance."
 
Arts Participation Through Attendance I 23 

increases. In other words, audiences in 1992 were wealthier. In 1982, about 17 

percent of the opera audience were in the wealthiest income category; in 1992, 

this segment had grown to over 26 percent. Unfortunately, because of the 

comparison problems mentioned above, it is impossible to say whether the shift 

came from the lower- or middle-income groups. 

Opera attendees are wealthier than the other selected arts attendees. In 1992 

more were in the $75,000 and above category (26.4 percent). Opera also had 

the highest proportion of individuals in the $50,000 to $74,999 income 

category (20.3 percent). However, as is the case with the other surveyed art 

forms, the largest proportion of the opera audience still falls in the $25,000 to 

$49,999 bracket (29.2 percent). Because of the inability to adjust for inflation, 

no bar chart is presented for income. 

Just over 37 percent of musical theater attendees fall in the $25,000 to 

$49,999 income bracket. Musicals rank third after opera and ballet in the 

proportion of attendees in the $50,000 and $75,000 income brackets (19.2 

percent and 17.1 percent, respectively). Compared with the other arts audiences, the musical theater audience includes a smaller proportion of attendees 

in the lowest income bracket of $14,999 and below (10.9 percent). 

Residency 

The selected arts attendees in general are more likely to reside in the suburbs 

than in cities or rural areas, although the audience share made up of city dwellers 

rose between 1982 and 1992. Table 10 shows that around 45 to 50 percent of 

the selected arts attendees reside in the suburbs, and about 35 to 40 percent live 

in cities. The share of the arts audience coming from rural areas decreased 

dramatically between 1982 and 1992, while the share made up of suburban 

residents increased somewhat, and the share made up of city dwellers increased 

even more. 

In 1992 about 9 percent more opera attendees resided in the suburbs than 

in the cities. Yet, city dwellers’ share of the audience rose by 5.4 percentage 

points between 1982 and 1992, suburbanites’ share decreased slightly (by only 

0.2 percentage points), and rural residents’ share fell by 5.2 percentage points. 

This reflects the decline in the rural population in general. 

In 1992, almost 17 percent more musical theater attendees came from the 

suburbs than from the cities. Compared with attendees for the other selected 

arts, fewer musical theater attendees are city residents (34.4 percent). Between 

1982 and 1992 the proportion who resided in the cities increased by 3.9 

percentage points, and in the suburbs by 3.2 percentage points. The proportion 

from rural areas decreased by 7.1 percentage points. (See Figure 5.) 
 

24 I American Participation in Opera and Musical Theater--1992 

TABLE 10. Attendance at Selected Arts Activities by Place of 

Residence, 1982 and 1992 (%) 

Residency Distribution 

U.S. Adult Population	 Central City* Suburbs* Rural Total 

1982 164,575,000 26.9 40.4 32.8 100.1
 

1992 185,838,000 32.6 45.0 22.4 100.0
 

Attendance 

Rate Among 

U.S. Adult
 

Arts Activity Population
 

Opera	 1982 3.0 35.2 49.7 15.1 100.0
 

1992 3.3 40.6 49.5 9.9 100.0
 

Musicals	 1982 18.6 30.5 48.0 21.5 100.0
 

1992 17.4 34.4 51.2 14.4 100.0
 

Classical 1982 13.0 30.4 44.2 25.4 100.0
 

music 1992 12.5 37.2 46.7 16.2 100.1
 

Jazz	 1982 9.6 35.5 44.0 20.5 100.0
 

1992 10.6 42.7 45.2 12.1 100.0
 

Plays	 1982 11.9 32.0 44.5 23.4 99.9
 

1992 13.5 38.4 47.4 14.2 100.0
 

Ballet 1982 4.2 35.7 48.1 16.2 100.0
 

1992 4.7 41.7 49.4 8.9 100.0
 

Other 1982 .....
 

dancet 1992 7.1 34.8 45.1 20.1 100.0
 

Art 1982 22.1 31.2 45.2 23.6 100.0
 

museums 1992 26.7 36.1 47.7 16.2 100.0
 

Note: Not all percentages add up to 100.0% due to rounding.
 

*Central City and Suburbs are the two parts of Standard Metropolitan Statistical Areas
 

(SMSAs).
 

±The 1982 survey did not include the category "other dance."
 

Education 

Arts attendees are more highly educated than the general population. The 

strong relationship between arts attendance and education increased between 

1982 and 1992. The proportions of attendees with college degrees and postgraduate education have increased for all selected arts activities, as shown in 

Table 11. 
 

 

Arts Participation Through Attendance I 25
 

FIGURE 5. Opera and Musical Theater Attendance
 

by Place of Residence, 1982 and 1992
 

35.0 

1982 1992 I
 

1982 1992 1982 1992
 

General population Musical theater attendees Opera attendees
 

["-] Central City (SMSA) ~ Suburb (of SMSA) [~ Rural (not SMSA) I
 

Note: Not all percentages add up to 100% due to rounding. 
26 I American Participation in Opera and Musical Theater--1992 

TABLE 11. Attendance at Selected Arts Activities by
 

Education, 1982 and 1992 (%)
 

Education Category Distribution 

Some/ High 

No High School Some College PostU.S. Adult Population School Grad College Grad Grad Total 

1982 164,575,000 25.1 37.5 19.5 10.4 7.5 100.0
 

1992 185,838,000 17.9 37.3 21.0 14.0 9.7 99.9
 

Attendance
 

Rate Among
 

U.S. Adult
 

Arts Activity Population
 

Opera	 1982 3.0 4.2 23.9 24.7 22.5 24.9 100.2
 

1992 3.3 3.9 16.4 21.3 23.8 34.6 100.0
 

Musicals	 1982 18.6 7.0 26.8 27.3 20.9 18.0 100.0
 

1992 17.4 4.1 25.4 25.8 23.9 20.8 100.0
 

Classical 1982 13.0 5.6 21.9 26.7 23.5 22.3 100.0
 

music 1992 12.5 3.5 19.6 23.6 25.7 27.7 100.1
 

Jazz	 1982 9.6 7.3 26.6 30.0 20.7 15.4 100.0
 

1992 10.6 2.7 19.7 28.2 26.9 22.5 100.0
 

Plays	 1982 11.9 5.5 22.2 26.9 22.6 22.9 100.1
 

1992 13.5 3.7 21.7 24.9 24.2 25.5 100.0
 

Ballet	 1982 4.2 3.8 21.4 27.6 23.8 23.4 100.0
 

1992 4.7 4.0 17.3 27.1 27.2 24.5 100.1
 

Other 1982 .......
 

dance* 1992 7.1 6.0 25.2 27.9 19.8 21.1 100.0
 

Art 1982 22.1 5.3 27.0 27.8 21.0 18.9 100.0
 

museums 1992 26.7 3.7 23.0 27.3 24.4 21.6 100.0
 

Note: Not all percentages add up to 100.0% due to rounding.
 

*The 1982 survey did not include the category "other dance."
 

Opera attendees are the most highly educated of all selected arts attendees. 

In 1992, 79.2 percent had at least some college education. They are more likely 

than the attendees for all the other selected arts activities to have postgraduate 

education (24.9 percent in 1982 and 34.6 percent in 1992). Between 1982 and 

1992, the share of the opera audience with postgraduate education increased 

9.7 percentage points. The next highest increase among the other selected arts 

attendees was among jazz attendees, whose share increased by 7.1 percentage 

points. (See Figure 6.) 

Musical theater, like all the surveyed arts, attracts an educated audience. In 

1992, 70.5 percent had at least some college education. However, musical 
 

 

 

Arts Participation Through Attendance I 27 

FIGURE 6. Opera and Musical Theater Attendance 

by Education, 1982 and 1992 

1982 1992 1982 1992 1982 19~2 General Population Musical ~eater attendees Opera attendees 

some high ~ high sch grad [~ some college 

college grad ~ post grad 

Note: Not all percentages add up to 100% due to rounding. 
28 I American Participation in Opera and Musical Theater--1992 

theater appeals to a wide educational range. In 1992, compared with the 

audience for the other selected arts activities, the musical theater audience had 

the highest percentage of those with only a high school degree (25.4 percent) 

and the second highest percentage (4.1 percent) of those with some or no high 

school. ("Other dance" had the largest segment of this category, with 6 percent.) 

While 20.8 percent of the musical theater attendees had some postgraduate 

education, this education group accounted for the lowest proportion among all 

the selected arts activities. Between 1982 and 1992, educational levels among 

musical theater attendees did not fluctuate significantly. 

Table 12 presents data regarding the education of arts attendees’ parents. 

While the parents of arts attendees are more highly educated than the general 

population, arts attendees themselves are significantly better educated than their 

parents. In 1992, the majority of their mothers and fathers (over 50 percent for 

most selected art forms) had high school diplomas or less. A slight rise in 

educational attainment among the parents of all selected arts attendees occurred 

between 1982 and 1992. 

In 1992, the mothers of opera-goers were among the more distinguished 

educationally compared with the mothers of arts attendees in general. More 

than 19 percent had a college degree or more. The mothers of ballet-goers are 

the most highly educated; almost 24 percent have a college degree or postgraduate education. In comparison, only 8.1 percent of the mothers in the general 

population had college degrees or postgraduate education. 

Among fathers of selected arts attendees in general, fathers of opera-goers 

ranked third in educational accomplishment. The 1992 data show that 27.7 

percent of the fathers of opera-goers had a college degree or had done postgraduate work, which placed them behind the fathers of ballet-goers (34.6 percent) 

and the fathers of classical music attendees (28.7 percent). In comparison, 11.9 

percent of fathers in the general population had attained that level of education. 

The 1992 data reveal no particular distinction educationally among mothers 

of musical theater attendees compared with the mothers of other selected arts 

attendees. Only 15 percent had a college degree or more. Similarly, 21.5 percent 

of the fathers of musical theater patrons had a college degree or more, which 

did not distinguish them from the fathers of other selected arts attendees. 

The parents of selected arts attendees value education: they are better 

educated than the general public; they show modest gains in educational 

achievement between 1982 and 1992; and their offspring are much more 

educated than they are or than the general population is. The value parents place 

on education appears to be one of the factors that relates to a possible involvement in the arts. 
 

 

Arts Participation Through Attendance I 29 

TABLE 12. Attendance Rates for Selected Arts Activities by 

Parents’ Education, 1982 and 1992 (%) 

Arts Groups 

Parents’ U.S. Adult Musical Classical Other Art 

Educational Level Population Opera Theater Music Jazz Plays Ballet Dance*Museums 

1982­

Mother’s education 

no/some high school 39.8 33.1 29.5 28.8 27.8 29.1 27.3 -- 29.0 

high school grad 30.8 28.4 36.0 32.4 40.0 34.7 33.0 -- 36.3 

some college 7.1 11.3 13.2 15.4 14.0 14.9 14.2 -- 14.8 

college grad 6.7 16.5 14.0 16.0 13.5 15.1 17.7 -- 14.1 

postgrad~t ......... 

don’t know 15.6 10.8 7.3 7.5 4.7 6.2 7.8 -- 5.8 

100.0 100.1 100.0 100.1 100.0 100.0 100.0 0.0 100.0 

Father’s education 

no/some high school 41.6 42.0 34.6 33.4 31.7 32.9 28.0 -- 32.3 

high school grad 21.7 15.8 25.4 24.8 28.5 23.7 23.4 -- 26.7 

some college 5.7 9.2 8.5 9.6 8.9 10.0 7.6 -- 9.3 

10.7 22.8 21.6 22.3 21.3 24.9 31.1 -- 22.3 college grad
 postgrad .........
 

don’t know 20.4 10.1 9.9 9.9 9.6 8.5 9.8 -- 9.4
 

100.1 99.9 100.0 100.0 100.0 100.0 99.9 0.0 100.0 

1992­

Mother’s education 

no/some high school 31.5 20.2 22.2 22.3 17.0 21.9 21.4 25.8 19.4 

high school grad 38.3 38.8 43.2 39.2 45.6 41.8 34.5 38.9 44.2 

some college 8.7 17.6 13.8 15.7 15.8 16.2 16.8 15.5 14.6 

college grad 6.3 13.5 11.5 13.6 13.2 10.9 18.6 10.4 12.4 

postgrad 1.8 6.2 3.5 6.2 3.9 3.6 5.3 5.0 4.3 

don’t know 13.4 3.8 5.9 3.0 4.4 5.7 3.4 4.3 5.1 

100.0 100.1 100.1 100.0 99.9 100.1 100.0 99.9 100.0 

Father’s education 

no/some high school 34.0 20.1 25.7 25.5 25.5 25.8 23.5 27.7 24.3 

high school grad 29.2 34.4 32.6 28.8 31.8 30.0 22.9 32.8 31.8 

some college 7.1 11.3 10.8 11.1 11.2 10.0 11.5 9.8 11.5 

college grad 7.3 11.9 12.5 16.0 13.7 13.7 18.7 13.6 13.3 

postgrad 4.6 15.8 9.0 12.7 9.6 9.9 15.9 7.7 10.0 

don’t know 17.8 6.4 9.4 5.9 8.2 10.6 7.5 8.5 9.2 

100.0 99.9 100.0 100.0 100.0 100.0 100.0 100.1 100.1 

Note: Not all percentages add up to 100.0% due to rounding.
 

*The 1982 sur~/ey did not include the category "other dance."
 

~The 1982 survey did not include the category "postgrad"; those who were postgrad
 

would be part of "college grad."
 
30 I American Participation in Opera and Musical Theater--1992 

Demographic Characteristics of High-Frequency Attendees 

The demographic profiles of high-frequency opera attendees reflect those of 

opera-goers in general, except larger proportions of the high-frequency attendees 

are Asian, older, better educated, and wealthy. Similar to what the data show for 

opera attendees in general, the largest proportion of high-frequency opera 

attendees are white (81.6 percent). But while Asians account for 3.7 percent of 

the general opera audience, they account for 14.5 percent of the high-frequency 

audience. Those 55 and older make up 38.7 percent of the high-frequency 

audience, compared with 29.6 percent of the opera audience in general. Compared with the general opera audience, a larger proportion of the high-frequency 

attendees have a postcollege education (47.7 percent versus 34.6 percent), and 

the frequent attendees are even more likely than general opera-goers to be in the 

$75,000-and-above income bracket (49.4 percent versus 26.4 percent). It is 

noteworthy that almost half of all high-frequency opera-goers have some postcollege education and are in the highest income bracket. (See Table 13.) 

The profiles of high-frequency musical theater attendees are strikingly 

similar to those of general musical theater attendees, with a couple of exceptions: 

compared with general musical theater attendees, a higher proportion of 

frequent attendees are over 65 (18.6 percent versus 12.8 percent), and a larger 

proportion have incomes over $75,000 (22.8 percent versus 17.1 percent[). 

Summary 

In 1992, the estimated audience for opera was 6.1 million persons, or 3.3 

percent of the adult U.S. population. Opera attendance increased by’ 0.3 

percentage points between 1982 and 1992. Opera is the least attended of the 

arts covered in the SPPA. Among all opera-goers, 15.2 percent are highfrequency (three times or more per year) attendees. 

In 1992, the estimated audience for musical theater/operetta was 32.3 

million persons, or 17.4 percent of the adult U.S. population. While musical 

theater attendance decreased by 1.2 percentage points between 1982 and 1992, 

musicals remained second only to art museums in popularity among the selected 

arts activities. Of all musical theater patrons, 22.4 percent are high-frequency 

attendees. 

Opera Demographics 

Opera, like the other selected art forms, tends to attract more women than 

men, but the proportion of men has grown significantly since 1982. Audiences 
 

Arts Participation Through Attendance I 31 

TABLE 13. Demographic Characteristics of Opera and 

Musical Theater Attendees, 1992 

Opera Musical Theater 

U.S. Adult High- HighPopulation All frequency* All frequency* 

Percentage 3.3% 0.5% 1 7.4% 3.9% 

Number (millions) 185.838 6.13 0.93 32.34 7.25 

Of the percentage of opera and musical theater attendees, the percentage breakdown 

according to demographic factors is shown below. For example, of the 0.5% of the 

adult population that attended opera 3 or more times last year, 42.0% are male and 

58.0% are female. 

Gender 

Male 47.9 45.0 42.0 41.5 40.9 

Female 52.1 55.0 58.0 58.5 59.1 

Race 

White 77.5 84.7 81.6 84.7 85.2 

Black 11.2 6.6 2.3 9.2 7.4 

Native American 0.5 0.6 0.0 0.4 0.2 

Asian 2.6 3.7 14.5 1.6 2.2 

Hispanic 8.3 4.4 1.6 4.2 5.0 

Age 

18-24 13.0 10.7 7.3 11.8 10.5 

25-34 22.8 19.0 11.0 20.9 18.9 

35-44 21.4 21.5 11.5 22.7 19.7 

45-54 14.9 19.2 31.5 19.1 18.4 

55-64 11.4 14.0 16.5 12.6 13.8 

65-74 9.9 12.1 19.6 9.5 13.3 

75+ 6.6 3.5 2.6 3.3 5.3 

Education 

0-some high school 17.6 3.9 2.3 4.1 5.1 

High school grad 37.3 16.4 18.4 25.4 22.8 

Some college 21.0 21.3 15.4 25.8 23.3 

College grad 14.0 23.8 16.3 23.9 23.9 

Postgrad 9.7 34.6 47.7 20.8 24.8 

Marital Status 

Married 58.8 57.9 61.4 59.3 54.5 

Widowed 7.2 6.4 10.1 5.9 8.5 

Divorced 8.7 9.4 7.7 9.4 9.2 

Separated 2.9 2.1 0.0 2.1 1.5 

Never married 22.3 24.1 20.8 23.3 26.3 
32 I American Participation in Opera and Musical Theater--1992 

TABLE 13. Demographic Characteristics of Opera and
 

Musical Theater Attendees, 1992 (Continued)
 

Opera Musical Theater 

U.S. Adult High- HighPopulation All frequency* All frequency* 

Place of residence 

Central city/SMSA 32.6 40.6 41.5 34.4 37.3
 

Suburbs/SMSA 45.0 49.5 53.5 51.2 49.9
 

Rural/non-SMSA 22.4 9.9 5.0 14.4 12.8
 

Incomef 

$0-$14,999 25.2 12.8 7.7 10.9 11.7
 

$15,000-$24,999 19.3 11.3 7.6 15.7 15.4
 

$25,000-$49,999 36.6 29.2 24.2 37.1 32.2
 

$50,000-$74,999 11.9 20.3 11.1 19.2 1 7.9
 

$75,000+ 7.0 26.4 49.4 17.1 22.8
 

Note: Not all percentages add up to 100.0% due to rounding.
 

*High-frequency is defined as three times or more. Because there are fewer than 1
 

million high-frequency opera attendees, caution should be used in interpreting the
 

figures.
 

tAbout 8.4% of those in the survey did not answer the income question; therefore,
 

caution should be used with these figures.
 

consist mainly of married white persons, although the audience for opera (along 

with ballet) contains a larger proportion of Asians than is the case for the other 

selected arts activities. The majority of opera-goers are in their middle years 

(from 25 to 45), though opera attracts an older crowd than the other surveyed 

art forms. It also attracts a wealthier and more educated group. 

Like attendees of most of the other art forms, opera attendees are somewhat 

more likely to reside in the suburbs than in cities, though the proportion that 

lives in cities has risen since 1982. Opera’s elite image is validated by its 

command of more educated, wealthier, older individuals; but this set of 

demographics does not apply exclusively. The opera audience embraces a wider 

group of persons. This is particularly the case among high-frequency attendees. 

Finally, the opera audience is perpetuating itself. Combatting the concern 

over the graying of the audience for the performing arts, younger persons 

attended in about the same proportions in 1992 as they did in 1982. 
Arts Participation Through Attendance I 33 

Musical Theater Demographics 

Musical theater attendees are most likely to be married, female, white, 

suburban residents, between the ages of 25 and 54. In 1992, more attendees 

came from the 45-to-54-year-old age group than in 1982. Musical theater 

patrons have higher incomes than the audiences for all but two of the other 

selected arts activites, opera and ballet, though the largest proportion earn 

between $25,000 and $49,000. Like the audiences for the other art forms, over 

70 percent have had at least some college education, yet they are the least 

educated of all the audiences for the selected arts. Fathers of musical theater 

attendees are least likely to have postgraduate education, compared with fathers 

of the other arts audiences; mothers are second least likely. Compared with the 

demographic profiles for the other selected arts, the demographic profile of 

musical theater attendees is closest to that of the general population. 

Demographics for High-Frequency Attendees 

High-frequency opera-goers are even older, better educated, and wealthier 

than opera attendees in general. Asians are more drawn to opera in proportion 

to their numbers in the general population than are other racial groups. In 1992, 

Asians made up 2.6 percent of the adult U.S. population; yet they accounted 

for 3.7 percent of the general opera audience and 14.5 percent of the highfrequency audience. 

High-frequency musical theater attendees are similar to attendees in general, 

except that a larger proportion are older and wealthier. 
Arts Participation 

Through Media 

Listening to or watching the arts on television, VCRs, radio, and recordings 

(compact discs, tapes, and records) represents another way individuals 

participate in the arts. Table 14 presents data for arts participation via the media, 

compared with live attendance, for 1982 and 1992. 

Americans are more likely to participate in all the selected arts activities via 

the media than by live attendance. Between 1982 and 1992, overall media 

participation increased significantly for all the arts except plays and musicals, 

which decreased by 7.8 and 4.8 percentage points, respectively. In both 1982 

and 1992 classical music was the most listened to or watched of the selected art 

forms, followed by jazz music. Outside of classical music and jazz, the popularity 

rankings of selected arts activities via the media changed. Plays dropped over 

the decade, and programs on artists and art museums gained in popularity. 

Either Americans’ artistic tastes changed or arts programming changed somewhat between 1982 and 1992. 

Americans are significantly more likely to watch and listen to opera via all 

forms of media than to attend live performances. They are most likely to watch 

opera on television or VCRs. Between 1982 and 1992, listening to opera on 

the radio increased slightly, but rates of participation remained about the same 

for other forms of opera media. 

Of all the selected arts activities, musicals have the narrowest gap between 

rates of participation via the media versus attendance at live performances. In 

1992, 17.4 percent of the adult population attended live musicals, while 20.6 

percent watched or listened to musicals via the media. Between 1982 and 1992, 

overall media participation for musicals decreased 4.8 percentage points. A 

decrease occurred in each medium: TV/VCR, recordings, and radio. It is unclear 

whether the decrease was due to fewer musicals being available on the media or 

musical theater audiences simply preferring live performances. 

Table 15 shows the demographic characteristics of opera and musical theater 

attendees and media participants for 1992. Opera media participants resemble 

opera attendees with the following exceptions: 

Media participants, when compared with attendees of live performances, 

command a larger number of seniors aged 65 and older (21.3 percent versus 

15.6 percent). 
Arts Participation Through Media I 35 

TABLE 14. Arts Media Participation and Live Attendance,
 

1982 and 1992 (% of U.S. Adult Population)
 

Live 

Tapes/CDs Any Performance 

Arts Activity TV/VCR* Records+ Radio Medium* Attendance 

Opera	 1982 12.0 7.4 7.1 17.4 3.0
 

1992 12.1 6.9 8.7 18.1 3.3
 

Musicals/ 1982 20.3 8.4 4.3 25.4 18.6
 

Operetta 1992 16.9 5.7 3.5 20.6 17.4
 

Classical 1982 24.7 22.1 19.9 36.9 13.0
 

music 1992 26.3 23.8 30.8 43.0 12.5
 

Jazz	 1982 18.1 20.2 18.1 31.8 9.6
 

1992 21.9 20.6 28.2 37.3 10.6
 

Plays	 1982 25.9 NA 3.8 27.1 11.9 

1992 18.1 NA 2.8 19.3 13.5 

Ballet	 1982 16.3 NA NA 16.3 4.2
 

1992 19.6 NA NA 19.6 4.7
 

Artists/ 1982 22.8 NA NA 22.8 22.1
 

Art museums 1992 32.2 NA NA 32.2 26.7
 

All art forms	 1982 50.4 34.5 32.5 59.3 39.3
 

1992 54.5 35.3 43.9 65.1 42.5
 

Note: Not all percentages add up to 100.0% due to rounding. 

*"VCR" was not included in the 1982 survey. Although VCRs existed, they were not in 

widespread use, and the number of titles of videotapes was quite limited. 

tThe media products that can be purchased for listening to the arts have changed 

during the 10-year period. In 1982 records and cassette tapes were the mass media 

products available. In 1992, tapes and CDs were the products widely available. 

Includes all media on which art form is available. 

 ̄	 Media participants earn less: 34.9 percent of the media participants earned 

less than $25,000, compared with 24.1 percent of performance attendees. 

 ̄	 A significantly larger number of media participants live in rural areas 

compared with performance attendees (16 percent versus 9.9 percent). 

 ̄	 Media participants tend to be less educated. Compared with performance 

attendees, more of their numbers have a high school education or less (33.6 

percent versus 20.3 percent), and fewer have postgraduate education (22.0 

percent versus 34.6 percent). 
36 I American Participation in Opera and Musical Theater--1992 

TABLE 15.	 Demographic Characteristics of Opera and
 

Musical Theater Media Participants and
 

Performance Attendees, 1992 (%)
 

Opera Musicals/Operetta 

Watch/ Watch/ 

Attend Listen Attend Listen 

U.S. Adult Live on Any Live on Any 

Population Performance Medium Performance Medium 

U.S. Adult Population	 3.3 18.1 17.4 20.6 

Gender 

Male 47.9 45.0 45.3 41.5 44.1
 

Female 52.1 55.0 54.7 58.5 55.9
 

Race 

White 77.5 84.7 80.9 84.7 82.6 

Black 11.2 6.6 9.2 9.2 8.5 

Native American 0.5 0.6 0.5 0.4 0.7 

Asian 2.6 3.7 2.7 1.6 2.6 

Hispanic 8.3 4.4 6.8 4.2 5.5 

Age 

1 8-24 13.0 10.7 7.3 11.8 9.5 

25-34 22.8 19.0 16.1 20.9 18.4 

35-44 21.4 21.5 19.9 22.7 21.9 

45-54 14.9 19.2 19.0 19.1 1 7.4 

55-64 11.4 14.0 16.5 12.6 14.3 

65-74 9.9 12.1 13.2 9.5 11.9 

75+ 6.6 3.5 8.1 3.3 6.6 

Education 

0-some high school 17.6 3.9 7.8 4.1 7.3 

High school grad 37.3 16.4 25.8 25.4 27.7 

Some college 21.0 21.3 25.7 25.8 24.8 

College grad 14.0 23.8 18.8 23.9 20.5 

Postgrad 9.7 34.6 22.0 20.8 19.7 

Marital status 

Married 58.8 57.9 60.5 59.3 60.2 

Widowed 7.2 6.4 8.4 5.9 7.4 

Divorced 8.7 9.4 9.2 9.4 8.9 

Separated 2.9 2.1 2.5 2.1 2.1 

Never married 22.3 24.1 19.5 23.3 21.4 
Arts Participation Through Media I 37 

TABLE 15.	 Demographic Characteristics of Opera and 

Musical Theater Media Participants and 

Performance Attendees, 1992 (%) (Continued) 

Opera Musicals/Operetta 

U.S. Adult 

Population 

Attend 

Live 

Performance 

Watch/ 

Listen 

on Any 

Medium 

Attend 

Live 

Performance 

Watch/ 

Listen 

on Any 

Medium 

Place of residence 

Central city/SMSA 

Suburbs/SMSA 

Rural/non-SMSA 

32.6 

45.0 

22.4 

40.6 

49.5 

9.9 

36.9 

47.1 

16.0 

34.4 

51.2 

14.4 

34.7 

46.6 

18.7 

Income* 

$0-$14,999 

$15,000-$24,999 

$25,000-$49,999 

$50,000-$74,999 

$75,000+ 

25.2 

19.3 

36.6 

11.9 

7.0 

12.8 

11.3 

29.2 

20.3 

26.4 

17.7 

17.2 

37.2 

15.2 

12.7 

10.9 

15.7 

37.1 

19.2 

17.1 

17.5 

1 7.7 

38.0 

15.4 

11.4 

Note: Read table down, except first line, which tells what percentage of the
 

population attends opera, watches/listens, etc. Not all percentages add up to 100.0%
 

due to rounding.
 

*About 8.4% of those surveyed did not answer the income question; therefore caution
 

should be used with these figures.
 

Media allows for wider participation because of its potential to include 

individuals who are unable to attend live performances. It is not surprising to 

find that seniors, persons with more limited incomes, and those living in rural 

areas where opera is less likely to be performed are more likely to be media 

participants. Fondness for opera exceeds what live audience numbers and 

demographics indicate. 

Media participants for musical theater tend to resemble musical theater 

attendees, with the following exceptions: 

A larger proportion of media participants are 65 and older (18.5 percent 

versus 12.8 percent). 

Media participants are not as wealthy as performance attendees: 26.8 

percent have incomes above $50,000, compared with 36.3 percent of 

attendees; 17.5 percent have incomes below $15,000, compared with 10.9 

percent of attendees. 
38 I American Participation in Opera and Musical Theater--1992 

Media participants are more likely to be rural residents (18.7 percent versus 

14.4 percent), and fewer live in the suburbs (46.6 percent versus 51.2 

percent). 

Like media participants for opera, media participants for musical theater are 

somewhat older, less wealthy, and more likely to live in rural areas than are 

performance attendees. Media make the arts accessible to a larger audience. 

The preceding tables and discussion have described media participation for 

opera and musical theater within the context of the general population. Tables 

16 and 17 and the accompanying discussion analyze media participation within 

the context of attendees of the selected arts activities. 

As expected, people who attend arts performances are significantly more 

likely to be media participants in the arts than is the general public. Over 90 

percent of the audience for each selected arts activity listen to or watch the arts 

on some form of media. In comparison, 65.1 percent of the general public listen 

to or watch via the media. In effect, arts attendees are almost as likely to listen 

to or watch the arts as they are to attend live performances. 

All attendees of the selected arts activities are more likely to partake of the 

arts on television and VCRs than on recordings and radio. 

Between 1982 and 1992, media participation in the arts increased among 

the general population by 5.8 percentage points. Live attendance increased by 

only 2 percentage points (see Table 2). 

Among opera attendees, overall media participation remained fairly stable 

between 1982 and 1992 (94.7 percent versus 94.9 percent). However, particiTABLE 16. Selected Arts Attendees’ Participation in Arts 

via Media, 1992 (%) 

Any Art on 

TV/VCR 

Any Art on 

Tapes/CDs 

Any Art on 

Radio 

Arts on Any 

Medium 

U.S. Adult Population 54.5 35.3 43.9 65.1 

Arts Attendees 

Opera 89.3 76.4 81.1 94.9 

Musicals/Operetta 83.2 64.5 72.9 91.0 

Classical music 90.2 74.6 82.7 96.3 

Jazz 86.9 79.3 84.8 95.3 

Plays 83.4 68.4 74.6 91.7 

Ballet 86.8 75.7 81.1 93.9 

Other dance 84.7 66.1 72.2 91.3 

Art museums 84.2 65.6 73.9 91.6 
 

 

Arts Participation Through Media I 39 

Table 17. Participation in Arts via Media, 1982 and 1992 (%) 

Any Art on Any Art on Any Art on Arts on Any 

TV/VCR Tapes/CDs Radio Medium 

U.S. adult population 

1982 50.4 34.5 32.5 59.3 

1992 54.5 35.3 43.9 65.1 

Opera attendees 

1982 86.7 70.5 74.2 94.7 

1992 89.3 76.4 81.1 94.9 

Musical/Operetta attendees 

1982 79.4 59.9 54.0 86.8 

1992 83.2 64.5 72.9 91.0 

pation via each of the media forms increased: 2.6 percentage points for 

TWVCRs, 5.9 for recordings, and 6.9 for radio listening. More opera attendees 

are listening to or watching the arts on more than one media form. 

Between 1982 and 1992, musical theater attendees experienced an overall 

4.2 percentage point increase in media participation: 3.8 for TV/VCRs, 4.6 for 

recordings, and a significant 18.9 for radio listening. 

An in-depth look at attendees’ participation in each of the three individual 

forms of media (TWVCR, recordings, radio) appears in Appendix B. 

Summary 

Participation in the arts via the media occurs at a higher rate than participation through attendance at live performances for both the general public and 

for arts attendees. In 1992, 42.5 percent of the adult U.S. population attended 

at least one live performance of a selected arts activity; 65.1 percent watched or 

listened to the arts on the media. 

In 1992, significantly more people watched or listened to opera on the 

media than attended live opera performances (18.1 percent versus 3.3 percent). 

Only 20.6 percent of the populous listened to or watched musical theater/ 

operetta on the media, compared with 17.4 percent who attended live performances. 

As expected, arts attendees are much more likely to also be arts media 

participants. Over 90 percent of each of the selected arts audiences were also 

media participants. Among opera-goers and musical theater patrons, 94.9 
40 I American Participation in Opera and Musical Theater--1992 

percent and 91 percent, respectively, also watched or listened to the arts on the 

media. 

In 1992, compared with the other arts attendees, opera-goers displayed the 

highest rate of media participation. All selected arts attendees are most likely to 

participate via TV/VCR, followed by listening to recordings/tapes/CDs, and, 

last, listening to radio. 

Between 1982 and 1992, arts media participation remained stable for opera 

and decreased 4.8 percentage points for musical theater/operetta. 

While there are differences in types and frequencies of media participation, 

as well as changes between 1982 and 1992 for both the general population and 

the arts attendees, they are difficult to interpret. Television and radio programming and the production of arts recording products affect media participation. 

The decrease in media participation in musicals/operetta between 1982 and 

1992 may be due to fewer productions of musical theater available on the 

broadcast media. Similarly, few productions of plays are broadcast on the radio. 

Supply as well as taste affect media participation rates. 

Demographic profiles of opera and musical theater attendees and media 

participants are similar. Both groups tend to be dominated by people who are 

white, married, middle-aged, wealthy, well educated, and living in the suburbs. 

Both groups have more women than men. However, some significant differences distinguish the groups; notably, media participants are somewhat 

younger, less educated, less wealthy, and are more likely to be rural residents 

than are performance attendees. This probably reflects the fact that for these 

groups, media are more accessible than live performances. 

While 65.1 percent of the general public watch or listen to the arts on the 

media, over 90 percent of all selected arts attendees are also arts media participants. The two seem to go in tandem: individuals who attend live performances 

are also media participants. 
Arts Participation 

Through Performance, 

Creation, and Study 

Other ways in which individuals can participate in the arts are by performing, creating, and studying the arts. This section looks first at personal 

performance and creation, then at studying the arts. 

Personal Arts Participation 

A plethora of different arts forms--weaving, sewing, photography, writing, 

dancing, potting, singing, and so on--present opportunities for involvement in 

the arts. The SPPA data looked at 14 arts activities involving personal arts 

participation. 

Performing or creating art can be done primarily for one’s own satisfaction 

or for public consumption. Those who perform or create primarily for their 

own satisfaction are considered amateurs. Those who produce for public 

consumption may also be amateurs, or they may be professionals, for whom the 

arts are a livelihood.6 

Table 18 gives the rank order and percentage of individuals involved in 14 

types of amateur arts participation in 1992. The overall rate of amateur arts 

participation for the general public is 57.9 percent, significantly higher than the 

rate for live attendance (42.5 percent), but lower than the rate for media 

participation (65.1 percent). More than 107 million adult Americans participate 

in one of these 14 arts activities. 

The category including weaving and sewing is the most popular of all the 

categories of amateur arts activities (24.8 percent participation), involving over 

46 million adults. This is followed by owning an original piece of art (22.2 

percent), which involves more than 41 million adults, and making photographs/movies/videos (11.7 percent), which involves over 21 million adults. 

Relatively few persons dance ballet (0.2 percent), sing opera (1.2 percent), or 

play jazz music (1.8 percent). However, the actual numbers of people involved 

in these activities is not that small. For instance, over 3 million perform jazz 

music, over 2 million sing opera, and about 370,000 dance ballet. 

Table 19 gives the rank order and percentage of individuals involved in 

amateur-professional arts activities in 1992. Amateur-professional activities are 

41 
 

 

 

42 I American Participation in Opera and Musical Theater--1992 

Table 18. Rank Order of Amateur Arts Participation, 1992 

Percentage of Est. number 

Rank Amateur Art Adult Americans (millions) 

1. Weaving/crocheting/quilting/needlepoint!sewing 24.8 46.09 

2. Owning an original piece of art 22.2 41.26 

3. Making photographs/movies/videotapes 11.7 21.74 

4. Painting/drawingisculpture/printmaking 9.7 18.03 

5. Creative writing (stories/poems/plays) 8.6 15.98 

6. Making pottery/ceramics/jewelry/leather/metal work 8.4 15.61 

7. Dancing modern/folk/tap dance (not ballet) 8.1 15.05 

8. Purchasing/acquiring art during last year 7.2 13.38 

9. Playing classical music 4.3 7.99 

10. Singing operetta/musicals 3.8 7.06 

11. Composing music 2.1 3.90 

12. Performing jazz music 1.8 3.35 

13. Singing opera music 1.2 2.23 

14. Dancing ballet .2 0.37 

TABLE 19. Rank Order of Amateur-Professional Arts 

Participation, 1992 

Percentage of Est. number 

Rank Amateur-Professional Activity Adult Americans (millions) 

I. Public performance in a chorale/choir/glee club, etc. 6.7 12.45 

2. Display of weaving/crocheting/quilting/needlepoint, etc. 2.4 4.46 

3. Display of paintingidrawingisculpture/printmaking 2.0 3.72 

4. Display of pottery/ceramics/jewelry/leather/metal work 1.7 3.16 

5. Display of photographs/movies/videos 1.7 3.16 

6. Public performance in a play 1.6 2.97 

7. Public performance/rehearsal of other dance 

(modern/folk/tap dance) 1.2 2.23 

8. Public performance/rehearsal of classical music 1.0 1.86 

9. Publication of creative writing (stories/poems/plays) .9 1.67 

I0. Public performance/rehearsal of music composition .7 1.30 

1 I. Public performance/rehearsal of jazz music .7 1.30 

12. Public performance/rehearsal of operetta/musicals .7 1.30 

13. Public performance/rehearsal of opera music .3 0.56 

14. Public performance/rehearsal of ballet .03 0.06 
Arts Participation Through Performance, Creation, and Study I 43 

a subset of amateur activities. In other words, of those involved in amateur 

activities, over 1 in 4 (26.3 percent) publicly display or perform an art. This 

equals about 29 million adult Americans. 

The largest group of individuals who display or perform their art publicly 

are those who perform in choral groups (6.7 percent of the population, or over 

12 million adults), followed by those who display weaving and other textile arts 

(2.4 percent, or about 4.5 million persons). Very few adults--an estimated 

60,000--perform ballet in public.7 

Table 20 shows amateur arts participation among individuals who are 

attendees at selected arts activities. Some highlights of the table include the 

following: 

 ̄	 Over 77 percent of the attendees of each selected art were amateur arts 

participants, compared with 57.9 percent of the general population. 

 ̄	 For all eight arts groups, owning an original piece of art ranks first among 

the various means of participation, followed by the category that includes 

weaving and sewing. 

 ̄	 Dancing ballet is the least preferred of all amateur arts activities. 

 ̄	 In general, each arts group is more likely to participate in its respective art 

form than are the other groups. Thus, opera-goers are more likely to sing 

opera than are other arts attendees; classical music patrons are more likely 

to play classical music, and so forth. The two exceptions are musical theater 

and art museum attendees. 

As indicated in Table 20, 80.7 percent of the 6.1 million opera-goers, or 

4.95 million persons, are amateur arts participants. Curiously, visual arts 

activities, not musical activities, predominate among opera-goers at the amateur 

level: 52.3 percent own an original piece of art; 31.8 percent weave, sew, or do 

other related arts; and 20.9 percent have purchased an original piece of art in 

the last year. Opera attendees are the most likely of all the selected arts attendees 

to own original art, to have recently purchased a piece of art, and to sing opera 

or musical theater/operetta music. 

The data for musical theater show that 77.3 percent of the 32.3 million 

musical theater patrons, or 25 million persons, are amateur arts participants. 

Over 40 percent own an original piece of art, and 31.5 percent participate in 

such activities as weaving and sewing. Compared with the other seven arts 

attendee groups, musical theater attendees are the least likely to be involved in 

amateur arts activities. Fewer of their numbers own or have purchased an 

original piece of art recently, take photographs, paint, write creatively, or 

compose music. 

Table 21 presents data regarding amateur-professional arts participation. 
 

 

44 I American Participation in Opera and Musical Theater--1992 

TABLE 20. Selected Arts Attendees’ Participation in 

Amateur Arts, 1992 (%) 

Arts Attendees 

U.S. Adult Musical Classical Other Art 

Population Opera Theater Music Jazz Plays Ballet Dance Museums 

Participate in 

any activity 57.9 80.7 77.3 83.5 79.7 80.0 82.2 86.6 80.9 

Create... 

pottery/ceramics/ 

jewelry/leather/ 

metal work 8.4 13.5 11.3 11.9 14.6 12.9 9.7 16.7 13.2
 

weavi ng/crocheti ng/
 

quilting/
 

needlepoint!
 

sewing 24.8 31.8 31.5 34.4 26.2 31.4 35.5 32.2 29.5
 

photographs/
 

movies/videotapes 11.7 19.2 17.0 22.9 21.3 19.5 21.0 24.6 21.3 

painting/drawing/ 

sculpture/ 

printmaking 9.7 14.7 14.7 18.6 16.1 15.5 18.9 21.5 18.0 

creative writing 

(stories/poems/plays) 8.6 15.7 15.5 21.0 20.6 18.9 22.6 20.0 16.5 

Compose music 2.1 3.2 2.9 4.5 6.8 3.3 3.2 6.2 3.7 

Own original 

pieces of art 22.2 52.3 41.4 49.5 46.6 44.8 49.2 44.5 43.9 

Purchase/acquire art
 

during last year 7.2 20.9 15.8 18.1 18.1 17.6 19.6 18.0 16.4
 

Perform jazz music* 1.8 7.0 4.4 5.9 9.2 3.9 6.0 5.2 4.0
 

Play classical music 4.3 12.8 9.6 15.3 9.9 9.4 13.4 11.0 9.3
 

Sing opera music 1.2 8.1 3.3 5.2 2.5 2.8 5.3 3.5 2.6
 

Sing operetta/musicals 3.8 13.5 9.1 11.8 8.0 8.5 12.1 12.0 7.3
 

Dance ballet 0.2 0.5 0.6 0.8 0.3 0.4 2.2 1.0 0.5
 

Dance other (modern/
 

folk/tap dance) 8.1 i4.2 12.9 12.9 14.0 12.6 14.5 28.6 12.2
 

Note: Amateur participation has no rehearsal, performance, or public display component.
 

*Jazz music was the only category that used the term "perform" rather than the more general 

terms "play" or "sing." 
 

 

 

 

 

Arts Participation Through Performance, Creation, and Study I 45 

TABLE 21.	 Selected Arts Attendees’ Participation in 

Amateur-Professional Arts, 1992 (%) 

Arts Attendees 

U.S. Adult Musical Classical Other Art 

Population Opera Theater Music Jazz Plays Ballet Dance Museums 

Public performance/ 

rehearsal of... 

jazz music 0.7 3.7 1.6 2.3 4.4 1.1 2.4 1.6 1.4 

classical music 1.0 2.9 2.7 4.6 3.3 2.6 1.7 2.6 2.4 

opera music 0.3 2.4 0.7 1.7 0.2 0.4 0.8 1.4 0.5 

operetta/musicals 0.7 4.4 1.8 4.1 1.7 2.6 3.0 2.9 1.8 

chorale/choir/ 

glee club/ 6.7 13.1 10.3 15.8 10.2 11.0 10.4 11.3 9.4 

a play 1.6 5.9 4.2 5.0 3.9 4.9 3.9 5.0 3.1 

ballet 0.03 0.5 0.2 0.1 0.0 0.1 0.7 0.3 0.1 

other dance 

(modern/folk/
 

tap dance) 1.2 3.1 2.5 2.8 2.3 3.2 2.4 7.8 1.9
 

Public display of works of... 

pottery/ceram ics/
 

jewelry/leather/
 

metal work 1.7 2.6 2.7 3.8 3.6 3.2 2.2 3.8 3.6
 

weaving/
 

crocheting/quilting/
 

needlepoint/
 

sewing 2.4 3.0 3.3 4.7 2.2 3.2 3.7 3.9 3.3
 

photograph~movie~
 

videotapes 1.7 6.9 3.2 4.5 5.7 3.6 3.5 4.4 4.0
 

painting/drawing/
 

sculpture/printmaking 2.0 3.4 3.3 4.7 4.2 3.7 3.3 4.2 4.1
 

Publish creative writing 

(stories/poems/plays) 0.9 4.8 1.7 3.0 2.9 1.8 2.0 2.8 1.9 

Public performance/
 

rehearsal of music
 

composition 0.7 0.9 1.4 1.7 3.1 0.8 0.8 1.9 1.0
 

Public display/
 

performance of any art 15.2 31.8 25.4 33.7 30.0 27.4 26.8 33.5 25.1
 

Note: Amateur-professional participation includes a rehearsal, performance, or public display
 

component.
 
46 I American Participation in Opera and Musical Theater--1992 

Among the 57.9 percent of the population who are amateur arts participants, 

26.3 percent, or about 29 million individuals, are engaged in public displays or 

performances of their art, either as amateur-professionals or professionals. 

The data show that over 25 percent of attendees of each of the selected arts 

activities are amateur-professional participants of one type or another. For both 

the general population and all the selected arts attendees, singing in a chorale 

or glee club is the most popular form of public arts activity, involving about 10 

percent or more of each of the arts groups and 6.7 percent of the general 

population. Except for singing in a group and the public display of textiles 

(sewing/weaving, etc.), 2 percent or less of the general population is engaged in 

any of the other forms of public arts performances or displays. 

Among opera attendees, 31.8 percent, or 1.95 million, are involved in 

publicly displaying or performing their art. Amateur-professional activities vary 

considerably among arts attendees and do not necessarily coincide with the art 

form they attend. For example, while singing is the most popular activity among 

all attendees, opera attendees’ second choice is displaying photographs, movies, 

or videos (6.9 percent); third is acting in a play (5.9 percent); and fourth is 

publishing a piece of creative writing (4.8 percent). 

Among musical theater attendees, 25.4 percent, or 8.1 million, publicly 

display or perform their art. After singing, musical theater attendees’ second 

choice among amateur-professional activities is acting in a play (4.2 percent), 

and third is displaying either sewing/weaving articles (3.3 percent) or paintings 

(3.3 percent). 

Demographic Characteristics of Opera and Musical 

Theater Attendees Who Are Amateur Arts Participants 

Because a high percentage of opera and musical theater attendees (80.7 

percent and 77.3 percent, respectively) also participate in one or another 

amateur art form, their profiles as a group are very similar to the profiles for all 

attendees. What is noteworthy, however, is that different amateur arts activities 

individually attract persons with quite different profiles. 

Among opera-goers who play an instrument, a high proportion are female 

(76.2 percent), young (36 percent are between 18 and 24 years old), and only 

about a third are married (33.1 percent). By contrast, opera-goers who participate 

in dance are less likely to be women (60.6 percent), are not concentrated in 

younger age groups (22.4 percent are between 18 and 24, and 33.1 percent are 

between 65 and 74), and are more likely to be married (47.3 percent). Because 

"dance other" is so much larger than "dance ballet," the demographic characteristics reflect the "other" dancers rather than ballet dancers. (See Table 22.) 
Arts Participation Through Performance, Creation, and Study I 47 

TABLE 22. Demographic Characteristics of Opera Attendees 

Who Are Amateur Arts Participants, 1992 (%) 

Play Sing Create Compose Own 

Jazz or Choir/ Dance Visual Music or Original 

U.S. Adult Opera Classical Opera/ Act in Ballet or Art Creative Art 

Population Attendees Music Musicals a Play Other Works Writing Works 

U.S. Adult Population 5.4 9.5 1.6 8.2 40.2 9.8 22.2 

Opera Attendees* 3.3 15.3 21.7 5.9 14.7 49.7 16.7 52.3 

Of the percentage of opera attendees who played/sang/danced/created the various arts (shown

above), the breakdown according to demographic factors is shown below. For example, of the 

15.3% of opera attendees who play jazz or classical music, 23.8% are male and 76.2% are 

female. 

Gender 

Male 47.9 45.0 23.8 30.2 42.4 39.4 32.1 41.4 48.0
 

Female 52.1 55.0 76.2 69.8 57.6 60.6 67.9 58.6 52.0
 

Race 

White 77.5 84.7 80.2 81.4 75.8 83.8 79.1 86.5 84.9
 

Black 11.2 6.6 8.3 9.3 24.2 7.3 9.9 9.6 5.1
 

Native American 0.5 0.6 0.0 0.0 0.0 3.0 0.0 0.0 0.0 

Asian 2.6 3.7 8.2 7.6 0.0 3.5 4.2 0.0 3.6 

Hispanic 8.3 4.4 3.4 1.7 0.0 2.4 6.8 4.0 6.4 

Age 

18-24 13.0 10.7 36.0 16.1 18.0 22.4 16.1 17.3 6.7 

25-34 22.8 19.0 3.0 4.4 16.9 4.5 15.1 13.3 17.6 

35~-4 21.4 21.5 18.2 24.7 14.5 20.2 19.1 22.5 18.5 

45-54 14.9 19.2 9.7 11.1 20.1 10.8 11.6 16.5 18.7 

55-64 11.4 14.0 7.7 16.9 15.3 9.0 16.0 9.4 20.6 

65-74 9.9 12.1 23.5 19.9 5.8 33.1 19.3 19.2 17.3 

75+ 6.6 3.5 1.9 6.9 9.4 0.0 2.7 1.8 0.6 

Education 

0-some high school 17.6 3.9 0.0 4.6 0.0 4.8 5.7 1.7 1.9 

High school grad 37.3 16.4 20.3 29.6 22.4 16.6 20.3 26.9 16.1 

Some college 21.0 21.3 22.2 23.2 21.2 18.0 30.6 17.5 19.9 

College grad 14.0 23.8 27.6 11.9 18.0 26.7 16.7 21.5 21.9 

Postgrad 9.7 34.6 29.9 30.8 38.4 33.8 26.8 32.3 40.1 

Marital Status 

Married 58.8 57.9 33.1 47.7 25.0 47.3 60.8 51.2 63.8 

Widowed 7.2 6.4 10.0 15.3 9.4 3.4 8.4 7.3 5.2 

Divorced 8.7 9.4 12.4 14.3 33.0 22.5 8.0 15.5 10.7 

Separated 2.9 2.1 5.4 3.9 14.5 0.0 2.6 5.0 3.0 

Never married 22.3 24.1 39.0 18.8 18.0 26.9 20.1 21.0 17.3 

Place of Residence 

Central city/SMSA 32.6 40.6 40.2 31.8 57.7 32.4 37.3 32.8 30.2 

Suburbs/SMSA 45.0 49.5 46.0 55.2 42.3 61.0 49.3 59.9 59.3 

Rural/non-SMSA 22.4 9.9 13.8 12.9 0.0 6.5 13.5 7.2 10.4 
48 I American Participation in Opera and Musical Theater--1992 

TABLE 22.	 Demographic Characteristics of Opera Attendees 

Who Are Amateur Arts Participants, 1992 (%) 

(Continued) 

U.S. Adult 

Population 

Play 

Jazz or 

Opera Classical

Attendees Music 

Sing 

Choir/ 

Opera/

Musicals 

Act in 

a Play 

Dance 

Ballet or 

Other 

Create 

Visual 

Art 

Works 

Compose Own 

Muslc or Original 

Creative Art 

Writing Works 

Incomet 

$0-$14,999 25.2 12.8 32.0 17.0 19.1 11.5 21.6 17.0 11.1 

$15,000-$24,999 19.3 11.3 4.0 17.7 10.0 14.2 10.3 4.2 4.0 

$25,000-$49,999 36.6 29.2 32.2 36.5 43.8 35.5 29.4 20.3 25.0 

$50,000-$74,999 11.9 20.3 10.0 24.0 9.5 19.4 19.2 34.7 28.4 

$75,000+ 7.0 26.4 21.8 4.7 17.5 19.3 19.4 23.9 31.5 

Note: These amateur arts (some in combination) were chosen because the participation rates are
 

high enough to give reasonable estimates. Not all percentages add up to 100.0% due to rounding.
 

*Because there are relatively few opera attendees in the sample, caution should be used
 

interpreting the figures in this table.
 

tAbout 8.4% of those in the survey did not answer the income question; therefore caution should
 

be used with these figures.
 

As with opera attendees, different amateur arts attract musical theater 

patrons with different demographic profiles. For example, among musical 

theater patrons who publicly act in plays, 40.4 percent are married, 45.8 percent 

are 34 or younger, and 20.8 percent are black. In contrast, among musical 

theater patrons who own original art works, 65 percent are married, over 50 

percent are 35 to 54 years old, and over 90 percent are white. (See Table 23.) 

Taking Arts Lessons and Classes 

Taking classes is yet another way individuals participate in the arts. The 

SPPA survey asked questions about lessons and classes taken the previous year 

and taken during one’s lifetime. 

As Table 24 shows, over 22 percent of the attendees for any of the selected 

arts activities said they had taken arts lessons or classes within the previous year. 

This compares with only 8.6 percent of the general population that had taken 

lessons. For both the general population and all the selected arts attendees, the 

highest proportions had studied an instrument or had taken voice lessons within 

the previous year. 

Twenty-six percent of opera attendees, or 1.59 million persons, had taken 

arts lessons or classes within the last year. Compared with other arts attendees, 

opera and ballet attendees are the second most likely to have taken arts lessons 

or classes. (Both groups record a rate of 26 percent. Attendees for performances 
Arts Participation Through Performance, Creation, and Study I 49 

TABLE 23.	 Demographic Characteristics of Musical Theater 

Attendees Who Are Amateur Arts Participants, 

1992 (%) 

Play Sing Create Compose Own 

Musical Jazz or Choir/ Dance Visual Music or Original 

U.S. Adult Theater Classical Opera/ Act in Ballet or Art Creative Art 

Population Attendees Music Musicals a Play O~her Works Writing Works 

U.S. Adult Population 5.4 9.5 1.6 8.2 40.2 9.8 22.2 

Musical Theater Attendees 17.4 11.6 17.2 4.2 13.3 51.5 16.9 41.4 

Of the percentage of musical theater attendees who played/sang/danced/created the various arts 

(shown above), the breakdown according to demographic factors is shown below. For example, 

of the 11.6% of musical theater attendees who play jazz or classical music, 33.8% are male and 

66.2% are female. 

Gender 

Male 47.9 41.5 33.8 35.7 48.0 44.6 29.5 43.9 44.2 

Female 52.1 58.5 66.2 64.3 52.0 55.4 70.5 56.1 55.8 

Race 

White 77.5 84.7 80.4 82.9 76.7 82.1 85.9 85.2 90.2 

Black 11.2 9.2 12.3 12.8 20.8 8.9 8.8 9.1 6.2 

Native American 0.5 0.4 0.0 0.0 0.0 0.6 0.0 0.0 0.0 

Asian 2.6 1.6 3.7 2.8 0.0 2.9 1.7 3.8 0.0 

Hispanic 8.3 4.2 3.5 1.5 2.5 5.4 3.7 1.9 3.5 

Age 

18-24 13.0 11.8 23.1 7.5 31.0 18.6 14.6 23.0 6.2 

25-34 22.8 20.9 12.8 22.6 14.8 22.1 20.1 19.8 17.7 

3544 21.4 22.7 23.6 25.9 27.6 18.7 23.7 18.3 26.8 

45-54 14.9 19.1 21.1 21.7 13.6 12.0 18.8 20.6 24.3 

55-64 11.4 12.6 11.3 12.5 5.7 11.8 11.1 6.3 12.2 

65-74 9.9 9.5 6.0 8.1 2.5 12.3 7.7 8.0 9.2 

75+ 6.6 3.3 2.2 1.8 4.8 4.5 4.0 3.9 3.6 

Education 

0-some high school 17.6 4.1 0.6 1.4 1.3 1.8 3.2 1.4 2.5 

High school grad 37.3 25.4 20.9 25.9 27.0 26.7 25.5 21.4 18.8 

Some college 21.0 25.8 19.4 27.4 28.0 28.6 28.3 29.0 27.4 

College grad 14.0 23.9 35.3 23.2 22.3 24.2 25.9 28.4 26.1 

Postgrad 9.7 20.8 23.7 22.1 21.4 18.7 17.1 19.8 25.2 

Marital Status 

Married 58.8 59.3 47.1 61.9 40.4 55.8 58.4 48.6 65.0 

Widowed 7.2 5.9 5.0 7.3 4.8 5.2 5.4 3.2 4.1 

Divorced 8.7 9.4 11.1 10.2 3.3 9.4 10.7 13.0 12.4 

Separated 2.9 2.1 4.1 2.4 3.7 3.8 2.0 3.8 1.8 

Never married 22.3 23.3 32.7 18.2 47.7 25.9 23.6 31.5 16.8 

Place of residence 

Central city/SMSA 32.6 34.4 40.6 34.7 47.6 32.0 36.2 39.5 32.8 

Suburbs/SMSA 45.0 51.2 43.0 47.4 41.8 50.9 47.1 46.5 52.2 

Rural/non-SMSA 22.4 14.4 16.4 17.9 10.6 17.0 16.6 13.9 15.0 
50 I American Participation in Opera and Musical Theater--1992 

TABLE 23.	 Demographic Characteristics of Musical Theater 

Attendees Who Are Amateur Arts Participants, 

1992 (%) (Continued) 

U.S. Adult 

Population 

Play 

Musical Jazz or 

Theater Classical 

Attendees Music 

Sing 

Choir/ 

Opera/ 

Musicals 

Act in 

a Play 

Dance 

Ballet or 

Other 

Create 

Visual 

Art 

Works 

Compose Own 

Music or Original 

Creative Art 

Writing Works 

Income* 

$0-$14,999 

$15,000-$24,999 

$25,000-$49,999 

25.2 

19.3 

36.6 

10.9 

15.7 

37.1 

13.6 

18.0 

36.1 

12.3 

10.5 

43.9 

10.4 

15.6 

41.8 

16.8 

16.7 

31.4 

13.0 

15.8 

38.2 

14.8 

20.1 

34.9 

7.9 

11.6 

33.8 

$50,000-$74,999 

$75,000+ 

11.9 

7.0 

19.2 

17.1 

16.8 

15.5 

19.7 

13.6 

14.4 

17.8 

15.0 

20.0 

15.4 

17.7 

16.1 

14.0 

21.5 

25.1 

Note: These amateur arts (some in combination) were chosen because the participation rates are 

high enough to give reasonable estimates. Not all percentages add up to 100.0% due to rounding. 

*About 8.4% of those in the survey did not answer the income question; therefore caution should 

be used with these figures. 

of"other dance" rank first, with a rate of 29.3 percent.) Among opera attendees, 

music is the most frequented type of lesson or class (8.2 percent), followed by 

dance other than ballet (6.9 percent), then creative writing (6 percent). Curiously, only 2.8 percent took music appreciation lessons. Compared with the 

other arts attendees, opera attendees are most likely to take music lessons and 

least likely to take visual arts lessons and art appreciation or art history. 

Twenty-four percent of musical theater attendees, or 7.7 million individuals, took arts lessons or classes during the previous year. Music is the most 

popular type of lesson or class (5.3 percent), followed by dancing other than 

ballet (5 percent) and creative writing (4.5 percent). 

People have long questioned whether and to what degree arts socialization 

affects adult attendance. Tables 25 and 26 look at the relationship between arts 

lessons and attendance among patrons of musical theater and opera. 

Music is the reigning art form when it comes to lessons and classes. Almost 

twice as many persons take music lessons as take lessons in any other arts. Not 

unexpectedly, opera and musical theater attendees are more likely than the 

general public to have had arts lessons at every stage of their lives. The rank 

order of lessons taken by the general population and by opera and musical 

theater attendees is very similar: 

1. music or voice lessons 

2. art appreciation 

3. music appreciation 
 

 

 

Arts Participation Through Performance, Creation, and Study I 51 

TABLE 24.	 Arts Lessons/Classes Taken During Previous Year,
 

1992 (%)
 

Arts Attendees 

U.S. Adult Musical Classical Other Art 

Population Opera Theater Music Jazz Plays Ballet Dance Museums 

During the last year,
 

took classes/lessons in...
 

music (either voice
 

training or an
 

instrument) 2.0 8.2 5.3 7.2 7.3 5.9 6.0 7.4 5.0
 

acting or theater 0.4 2.0 1.7 1.8 2.5 2.6 2.7 2.4 1.1 

ballet	 0.1 1.4 0.3 0.7 0.2 0.3 2.0 0.7 0.3 

other dance (tap,
 

modern, folk, etc.) 1.4 6.9 5.0 5.0 4.8 3.6 5.5 9.0 3.7
 

visual arts (sculpture,
 

painting, print making,
 

photography, film
 

making, etc.) 1.6 2.0 3.7 4.3 3.8 4.2 4.3 5.2 4.0
 

creative writing 1.5 6.0 4.5 4.5 4.5 5.2 4.7 4.8 3.3 

art appreciation or
 

art history 1.2 1.7 3.9 4.0 3.1 3.6 5.8 5.9 3.3
 

music appreciation 0.8 2.8 2.4 3.0 1.4 1.7 3.2 2.4 2.2 

any type of lesson/class 8.6 26.0 24.0 24.8 23.3 23.5 26.0 29.3 22.4 

4.	 7- visual arts lessons 

5. either 

6.	 L creative writing other dance 

7. acting or theater 

8. ballet 

In addition, the ages at which arts lessons are taken tends to be very similar 

for all three groups. Thus, most people take music lessons during their elementary/high school years (under age 18); they tend to take art and music appreciation classes during their college years (age 18 to 24); they study ballet primarily 

during elementary school years (under age 12); the largest proportion study 

acting or theater in high school or college (age 12 to 24); they take lessons or 

classes related to visual arts mainly during high school/college years (age 12 to 

24) and after age 25; they learn "other dance" throughout life; and they take 
52 I American Participation in Opera and Musical Theater--1992 

TABLE 25. Age at Which Adult Population and Opera and 

Musical Theater Attendees Took Arts 

Lessons/Classes, 1992 (%) 

U.S. Adult Opera Musical Theater 

Population Attendees Attendees 

A~endance% 3.3 17.4 

Type of Lesson and Age When Taken % of Attendees % of Attendees 

Music (either voice training 

or an instrument) 39.6 65.3 60.8 

Under 12 20.0 38.3 33.6 

12-17 24.5 40.9 37.0 

18-24 6.3 20.6 12.6 

25 or older 4.2 10.4 9.2 

Acting or theater 7.4 19.5 15.4 

Under 12 0.9 1.5 2.2 

12-17 4.8 11.2 9.2 

18-24 2.5 10.0 6.8 

25 or older 0.8 1.0 2.3 

Ballet 7.0 13.3 14.5 

Under 12 5.3 11.2 10.9 

12-17 2.0 3.7 3.9 

18-24 1.1 2.0 2.8 

25 or older 0.4 1.2 0.9 

Other dance (tap, modern, 

folk, etc.) 15.8 28.6 30.6 

Under 12 5.6 7.4 10.6 

12-17 5.3 10.2 9.5 

18-24 3.7 8.1 8.8 

25 or older 4.4 9.0 10.3 

Visual arts (sculpture, 

painting, printmaking, 

photography, film making, 

etc.) 17.6 30.3 32.5 

Under 12 2.1 2.6 3.5 

12-17 8.8 10.0 14.4 

18-24 7.0 13.2 14.4 

25 or older 4.9 12.0 10.6 
Arts Participation Through Performance, Creation, and Study I 53 

TABLE 25. Age at Which Adult Population and Opera and 

Musical Theater Attendees Took Arts 

Lessons/Classes, 1992 (%) (Continued) 

U.S. Adult Opera Musical Theater 

Population Attendees Attendees 

Creative writing 15.6 33.4 30.8 

Under 12 0.6 0.8 1.1 

12-17 6.0 13.1 11.0 

18-24 8.7 17.2 17.9 

25 or older 3.1 10.0 7.8 

Art appreciation or 

art history 22.9 49.6 38.7 

Under 12 0.7 1.4 0.7 

12-1 7 6.3 9.3 8.4 

18-24 14.8 34.5 27.6 

25 or older 3.3 10.2 0.7 

Music appreciation 18.1 37.6 33.4 

Under 12 1.2 2.8 2.0 

12-17	 7.3 12.7 10.8 

18-24 9.9 23.2 20.9 

25 or older 1.9 7.3 4.4 

Note: The four age categories are not mutually exclusive; they will add up to more 

than the percentage in the heading. 

TABLE 26.	 Percentages of Adult Population and Selected 

Arts Attendees Who Have Ever Taken Arts 

Lessons/Classes, 1992 

Group	 Percentage 

U.S. adult population 57.4 

Opera attendees 86.6 

Musical theater attendees 82.2 

Classical music attendees 85.2 

Jazz attendees 84.0 

Play attendees 84.2 

Ballet attendees 88.9 

Other dance attendees 86.5 

Art museum attendees 84.0 
54 I American Participation in Opera and Musical Theater--1992 

creative writing classes primarily during high school and college years (age 12 

to 24). The congruence between the data for the general population and for 

opera and musical theater attendees suggests that a set of social norms guides 

whether and when a person is introduced to an artistic discipline. 

Of all the various lessons and classes available, opera attendees are most likely 

to have studied music at some time in their life (65.3 percent), followed by art 

appreciation (49.6 percent) and music appreciation (37.6 percent). Among 

those who studied music, 79.2 percent took music lessons and 15.5 percent had 

music appreciation classes before they were 18. Music clearly plays an important 

part in the life of opera attendees. They tend to be introduced to music at an 

early age and stay connected either by attending live performances, playing a 

musical instrument, or taking voice lessons. 

Choosing from the array of possibilities, musical theater attendees are most 

likely to have taken music lessons (60.8 percent), then art and music appreciation (38.7 percent and 33.4 percent, respectively). Over 70 percent of those 

who took music lessons did so during their elementary or high school years; 

31.7 percent took music appreciation classes during high school or college. 

Over 80 percent of all selected arts attendees have taken a lesson or class in 

the arts at some point. This compares with less than 60 percent of the general 

adult population, suggesting a relationship between attendance at the live arts 

and classes or lessons taken. A table of 1982 data on lessons ever taken can be 

found in Appendix C. 

Summary 

Amateur arts attract a larger proportion of the American population than 

live attendance at the selected arts activities (57.9 percent versus 42.5 percent), 

but a smaller proportion than media participation (65.1 percent). Only 15.2 

percent of the general public are also engaged as amateur-professional arts 

participants. 

Of the many amateur arts included in the survey, opera singing attracts the 

second-smallest number: only 1.2 percent, or about 370,000 adults. (The 

smallest percentage, 0.2 percent, dance ballet.) In comparison, 3.8 percent, or 

7.06 million adults, are amateur musical theater and operetta singers. 

As expected, selected arts attendees are more likely than the general population to engage in "hands-on" arts activities: 80.7 percent of opera attendees 

and 77.3 percent of all musical theater attendees are also amateur arts participants. The data show that 31.8 percent of the amateur opera participants and 

25.4 percent of the musical theater amateurs are amateur-professionals. 
Arts Participation Through Performance, Creation, and Study I 55 

Choosing among the many amateur arts activities included in the survey, 

8.1 percent of the opera-goers reported they are engaged in amateur opera 

singing; 2.4 percent sing as amateur-professionals. Opera-goers prefer visual 

amateur arts activities over musical activities. 

Musical theater patrons also prefer visual amateur arts activities, especially 

weaving/sewing/etc., and owning original art. Only 9.1 percent of their number 

are engaged in amateur musical theater/operetta singing; 1.8 percent perform 

as amateur-professionals. 

Because a high proportion of opera and musical theater attendees are 

amateur arts participants, their overall demographic profiles tend to be similar. 

However, when looking at distinct forms of amateur or amateur-professional 

activities, such as painting, acting in a play, performing an instrument, and so 

forth, the profiles of those involved differ significantly. 

Only 8.6 percent of the population surveyed had taken arts lessons or classes 

within the previous year. However, 57.4 percent had taken lessons or classes at 

some point in their lifetime. In contrast, more than 22 percent of all the selected 

arts attendees had taken arts lessons or classes within the previous year, and over 

80 percent had taken them at some point in their lifetime. 

About one quarter of the opera attendees and musical theater attendees (26 

percent and 24 percent, respectively) had taken arts lessons or classes within the 

last year. However, 86.6 percent of opera-goers and 82.2 percent of musical 

theater attendees had taken arts classes or lessons during their lifetimes. 

Both opera and musical theater attendees are introduced to music early in 

their life. The data show that 79.2 percent of all opera attendees and 70.6 percent 

of musical theater attendees who took music or voice lessons did so before age 

18. Clearly, early exposure to music has some bearing on an adult commitment 

to a musical art form. 
Leisure Activities n 

Artistic and Other 

Involvement in Other Arts and Cultural Activities 

We have addressed performance attendance, media involvement, personal 

creation and performance, and attending arts classes as ways in which Americans 

can be involved in the arts. The 1992 SPPA survey included five additional 

activities that individuals could engage in: going to art fairs, historical parks, 

and movies; and reading and listening to literature. 

As indicated in Table 27, the general population prefers going to movies 

and reading literature to attending any of the eight selected arts activities. As 

expected, arts attendees are significantly more likely to be involved in the five 

indicated activities than is the general population. This is particularly the case 

with going to movies and reading literature. About 80 percent of each attendee 

group enjoy each activity. 

Opera and musical theater attendees do not vary much from the other arts 

attendees in their involvement in the above activities. The percentage of selected 

arts attendees who go to movies ranges from 79 to 84.5; the percentage who 

read literature ranges from 78.5 to 83.5; the percentage who go to art fairs ranges 

TABLE 27.	 Participation in Other Arts and Cultural Activities, 

1992 (%) 

Selected Ar~s Attendees 

U.S. Adult Musical Classical Other A~t 

Population Opera Theater Music Jazz Plays Ballet Dance Museums 

Live attendance at a 

benchmark art 42.5 100.0 100.0 100.0 100.0 100.0 100.0 100.0 100.0 

Art fairs 40.7 71.1 71.2 72.7 72.2 71.1 71.8 74.9 72.9 

Historical parks 34.5 67.1 64.3 68.2 65.8 67.0 68.5 65.1 68.6 

Movies 59.0 82.7 82.0 80.6 84.5 84.0 82.0 79.0 81.4 

Reading literature 54.2 82.5 78.5 82.6 78.9 81.9 83.5 79.2 80.0 

Listening to literature 12.5 33.8 26.3 31.9 30.4 29.1 29.7 31.5 27.4 

Note: Read table down. In other words, of those who attend opera, 71.1 % also attend art fairs. 

56 
 

 

Leisure Activities-- Artistic and Other I 57 

from 71.1 to 74.9; and the percentage who frequent historical parks ranges from 

64.3 to 68.6. Listening to literature is not as popular, drawing only 12.5 percent 

of the general population and 26.3 to 33.8 percent of selected arts attendees. 

Comparing Types of Arts Participation 

Table 28 compares the four dimensions of arts participation that we have 

looked at separately in earlier sections of this monograph. As the data illustrate, 

the arts in America are a vital core of our society. For example, 65.1 percent of 

the population watch or listen to the arts on the media; 57.9 percent are engaged 

in artistic performance or creation, and 15.2 percent perform or display their 

work publicly; 42.5 percent attend one of the selected arts activities at least once 

a year; and 8.6 percent have taken a class in the arts within the last year. In all, 

over 150 million adults in the United States participated in the arts in 1992. 

TABLE 28. Adult Population’s Participation in Any Selected 

Arts Activities, Opera Activities, and Musical 

Theater Activities, 1992 

Any Selected Musical 

Art Activities Opera Activities Theater Activities 

Est. number Est. number Est. number 

Kinds of Participation Rate (%) (millions) Rate (%) (millions) Rate (%) (millions) 

Attendance at 

live arts event 42.5 78.98 3.3 6.13 17.4 32.34 

Media 65.1 120.98 18.1 33.64 20.6 38.28 

Personal arts 

participation 

Amateur 57.9 107.60 1.2 2.23 3.8 7.06 

Amateur-Professional 15.2 28.25 0.3 0.56 0.7 1.30 

Arts classes 

during last year 8.6 15.98 NA* NA* 

Any arts participation 80.8 150.16 18.7 34.75 30.8 57.24 

*Questions about opera and musical theater lessons were not asked; the closest 

question asked whether the respondent had taken music lessons. While we cannot 

discern from the survey how many individuals specifically took opera or musical 

theater/operetta lessons as adults, the number would be small, as few persons take 

adult arts lessons. 
58 I American Participation in Opera and Musical Theater--1992 

While only 3.3 percent of the population attend opera, 18.1 percent listen 

to or watch opera via the media. Only 1.2 percent of the population sing opera 

professionally or for personal pleasure. Considering all of the dimensions of 

opera participation, 18.7 percent of the adult U.S. population (34.7 million 

persons) participate in operatic activities. 

By contrast, 17.4 percent of the population attend musical theater, 20.6 

percent listen to musicals/operettas on the media, and 3.8 percent sing musicals/operettas. Thus, about 30.8 percent (57.2 million persons) participate in 

musical theater/operetta in one form or another. 

Looking at all the types of arts participation included in the SPPA survey, 

we see that both the general population and the attendees of selected arts 

activities participate extensively. However, arts attendees, as expected, are 

significantly more involved in all aspects of arts participation. (See Table 29.) 

Among the general population, over half watch or listen to the arts via some 

form of media (65.1 percent), go to movies (59 percent), perform or create art 

(57.9 percent), and read literature (54.2 percent); 42.5 percent attend live arts 

events; and 40.7 percent go to art fairs. A smaller proportion visit historical 

parks (34.5 percent), perform or display their art publicly (15.2 percent), listen 

to literature (12.5 percent), and take arts classes (8.6 percent). 

For all the selected arts attendees, media commands the largest proportion 

of participants (91 to 96.3 percent), followed by attending movies (79 to 84.5 

percent), reading literature (78.5 to 83.5 percent), and involvement in any 

amateur arts (77.3 to 86.6 percent). 

Among opera attendees, 94.9 percent participate in the arts via the media, 

82.7 percent attend movies, 82.5 percent read literature, and 80.7 percent 

participate in amateur arts activities. While opera attendees participate in other 

arts activities at lower rates, these rates are still substantially higher than those 

for the general population. For example, 26 percent of opera-goers take arts 

classes, compared with 8.6 percent of the general population. 

Compared with the other selected arts attendees, musical theater attendees 

have either the lowest or next to lowest proportions for allofthe activities except 

two: they are the most likely to participate in a public arts performance (32.1 

percent) and rank fifth out of the eight arts groups in taking adult arts classes 

(24 percent). Thus, while they are more akin to other arts attendees than to the 

general population in their involvement in the arts, musical theater attendees 

are the closest of all the arts groups to the general population. 

Involvement in Nonartistic Leisure Activities 

Arts participation of any kind can be considered a leisure activity (excluding 

those who are arts professionals), representing a choice among other leisure 
 

 

 

Leisure Activities--Artistic and Other I 59 

TABLE 29. Comparison of Types of Arts Participation, 

1992 (%) 

Selected Arts Attendees 

U.S. Adult Musical Classical Other Art 

Population Opera Theater Music Jazz Plays Ballet Dance Museums 

selected art event 42,5 100~0 I00,0 I00~0 I00:0 I00:0 100.0 100.0 100.0 

Art fairs 40.7 71.1 71.2 72.7 72.2 71.1 71.8 74.9 72.9 

Historical parks 34.5 67.1 64.3 68.2 65.8 67.0 68.5 65.1 68.6 

Movies 59.0 82.7 82.0 80.6 84.5 84.0 82.0 79.0 81.4 

Reading literature 54.2 82.5 78.5 82.6 78.9 81.9 83.5 79.2 80.0 

Listening to literature 12.5 33.8 26.3 31.9 30.4 29.1 29.7 31.5 27.4 

Any media arts 

participation ~, 

radio, CDs, etc~) 65~I 94.9 91.0 96i3 95~3 91.7 93.9 91.3 91.6 

Watch arts on TV/VCR 54.5 89.3 83.2 90.2 86.9 83.4 86.8 84.7 84.2 

Listen to arts on radio 43.9 81.1 72.9 82.7 84.8 74.6 81.1 72.2 73.9 

Listen to arts on 

CDs/tapes/records 35.3 76.4 64.5 74.6 79.3 68.4 75.7 66.1 65.6 

Any amateur arts 

involvement 57~9 80.7 77.3 83~5 797 80.0 82.2 86.6 80.9 

Participate in 

visual arts 49.1 72.5 68.0 75.4 68.9 71.5 72.9 74.2 72.4 

Write or compose 9.8 1 6.7 1 6.9 23.1 24.2 20.4 23.4 22.4 18.6 

Participate in 

performing arts 1 9.8 37.1 34.5 40.8 37.3 34.2 40.8 50.2 31.6 

Any amateurprofessional .... 

involvement 15:2 31.8 25.4 33.7 30.0 27.4 26.8 33.5 25.1 

Amateur-professional 

participation in 

visual arts 6.3 12.2 10.1 13.6 12.4 10.4 11.2 13.1 11.6 

Writing or music 

composition published 1.6 5.7 2.9 4.4 5.7 2.6 2.4 4.7 2.8 

Amateur-professional 

participation in 

performing arts 9.4 20.9 32.1 29.6 22.2 26.0 8.4 14.8 14.6 

Adult art classes 8~6 26.0 24i0 24~8 23~3 23.5 26.0 29.3 22.4 
60 I American Participation in Opera and Musical Theater--1992 

activities. Thus, it is instructive to see how arts attendees are involved in 

non-artistic/cultural activities, and how their participation in arts activities 

compares with their participation in other leisure activities. Table 30 presents 

data related to involvement in non-artistic/cultural activities. 

Individuals who attend the selected arts activities are more likely than the 

general population to engage in non-artistic/cultural activities. Among the 

general population, exercise attracts the largest proportion (59.7 percent), 

followed by gardening (54.7 percent) and going to amusement parks (50.2 

percent). The lowest ranking activities are outdoor activities (34.1 percent) and 

charitable activities (32.6 percent). In comparison, selected arts attendees 

participate in all of these non-artistic/cultural activities at higher rates. 

Like the general population, all the selected arts attendees rank exercising 

first as their activity of choice, participating at rates ranging from 78.4 to 81.6 

percent. With a participation rate ranging from 48.1 to 50.4 percent, outdoor 

activities place last for all arts groups except "other dance" and art museum 

attendees, for whom charity work ranks lowest. 

Among opera attendees, the first-choice activity is exercise, with a participation rate of 80.7 percent, followed by gardening (61.7 percent) and home 

improvements (58.9 percent). Outdoor activities are the last choice among 

opera attendees, with a participation rate of 48.1 percent. 

Looking at musical theater attendees, 80.2 percent exercise, followed by 

63.1 percent who garden and 61.8 percent who go to amusement parks. 

Outdoor activities rank last, drawing 49.5 percent of the musical theater 

attendees. 

Table 31 compiles the data for all the artistic and nonartistic activities 

covered in the 1992 SPPA survey and ranks the activities according to their rates 

of participation among the general population. 

Looking at the 19 artistic and nonartistic activities included in the 1992 

SPPA survey, the arts emerge as a vital part of American life. Four arts activities 

drew over 50 percent of the general population: arts participation via the media, 

movies, creating or performing art, and reading literature. Media participation 

in the arts ranked second among all leisure activites (65.1 percent); attending 

movies fourth (59 percent); amateur arts participation fifth (57.9 percent); 

reading literature seventh (54.2 percent). Attending selected arts activities 

ranked tenth (42.5 percent), three positions above attendance at professional 

sports events (36.8 percent).8 

Table 32 ranks the top 18 leisure activities for opera and musical theater 

attendees. (Attendance at selected arts activities, which appears in Table 31, does 

not appear in this list for the obvious reason that 100 percent of the surveyed 

population participates.) 

The most notable difference between the rank order of leisure activities by 
Leisure Activities -- Artistic and Other 61 

TABLE 30.	 Involvement in Non-Artistic/Cultural Activities by 

Adult Population and Selected Arts Attendees, 

1992 (%) 

Selected Arts Attendees 

U.S. Adult Musical Classical Other Art 

Population Opera Theater Music Jazz Plays Ballet Dance Museums 

Professional 

sports events 36.8 52.1 53.4 56.7 59.4 54.3 53.9 56.9 53.4 

Playing sports 38.8 49.4 53.8 55.8 62.4 55.3 53.5 57.7 55.5 

Exercising 59.7 80.7 80.2 80.9 81.6 78.4 80.8 78.4 79.9 

Outdoor activities 34.1 48.1 49.5 49.3 50.4 48.3 44.9 54.6 52.5 

Home improvements 47.6 58.9 59.7 61.1 56.6 55.9 63.3 59.0 60.1 

Gardening 54.7 61.7 63.1 68.7 61.3 63.4 63.2 65.4 66.7 

Charity 32.6 49.9 52.1 58.7 50.8 54.5 53.4 53.7 50.3 

Amusement parks 50.2 53.0 61.8 56.5 65.6 60.7 60.5 66.1 63.4 

Note: Read table down. For example, among those who attend opera, 48.1% engage in outdoor 

activities. 

the general population and by opera and musical theater attendees is that the 

latter two tend to participate at significantly higher rates, whether in artistic or 

nonartistic activities. However, it is remarkable how similar the rank order of 

leisure activities is for all three groups, in particular for opera and musical theater 

attendees. Watching or listening to the arts on the media ranks second among 

the general population, first for opera attendees, and second for musical theater 

attendees. 

Among arts activities, going to movies, reading literature, and participating 

in amateur arts rank among the top seven activities for all three groups. Going 

to art fairs ranks seventh for both opera and musical theater attendees and 

eleventh for the general population. 

Among nonartistic activities, exercising places among the top six for all three 

groups. Gardening ranks sixth for the general population and ninth for both 

opera and musical theater attendees. 

For all three groups, taking adult arts classes, participating in any amateurprofessional activity, and listening to literature are the arts activities that rank 

the lowest. 
62 I American Participation in Opera and Musical Theater--1992 

TABLE 31. Rank Order of Leisure Activities Among 

U.S. Adult Population, 1992 

Activity 

1. TV watching 

2. Any arts on media 

3. Exercising 

4. Movies 

5. Any amateur arts participation 

6. Gardening 

7. Reading literature 

8. Amusement parks 

9. Home improvements 

10. Selected arts attendance 

11. Art fairs 

12. Playing sports 

13. Professional sports events 

14. Historical parks 

15. Outdoor activities 

16. Charity 

% Participating 

96.4 

65.1 

59.7 

59.0 

57.9 

54.7 

54.2 

50.2 

47.6 

42.5 

40.7 

38.8 

36.8 

34.5 

34.1 

32.6 

17. Any amateur-professional arts participation 15.2 

18. Listening to literature 12.5 

19. Adult art classes 8.6 

Summary 

Involvement in the arts can be seen as a choice among different types of 

leisure activities. Viewed as such, Americans show a strong preference for the 

arts. Choosing among the 19 leisure activities included in the SPPA survey, 

approximately 65 percent of the population indicated they watch or listen to 

an art form on the media, 59 percent go to movies, nearly 58 percent are involved 

in performing or creating art, and more than 54 percent read literature. Only 

watching TV, exercising, gardening, and going to amusement parks also attract 

over 50 percent of the population. 

Selected arts attendees are more involved than the general population in all 

forms of leisure activities (both artistic and nonartistic). Yet for the general 

population and for opera and musical theater attendees, the rank order of 

preferred leisure activities is remarkably similar: TV watching, participating in 

arts via the media, and attending movies top the list of preferred activities, with 

listening to literature, involvement in public arts performances or displays, and 

taking adult arts classes at the bottom. 
Leisure Activities-- Artistic and Other I 63 

TABLE 32. Rank Order of Leisure Activities Among Opera 

and Musical Theater Attendees, 1992 

Opera Attendees	 Musical Theater Attendees 

%	 % 

Activity	 Participating Activity Participating 

1. Any arts on media 94.9 1. TVwatching	 96.3 

2. TV watching	 94.8 2. Any arts on media 91.0 

3. Movies	 82.7 3. Movies 82.0 

4. Reading literature 82.5 4. Exercising	 80.2 

5. Any amateur arts participation 80.7 5. Reading literature 78.5 

6. Exercising	 80.7 6. Any amateur arts participation 77.3 

7. Art fairs	 71.1 7. Art fairs 71.2 

8. Historical parks 67.1 8. Historical parks 64.3 

9. Gardening	 61.7 9. Gardening 63.1 

10. Home improvements 58.9 10. Amusement parks 61.8 

11. Amusement parks 53.0 11. Home improvements 59.7 

12.	 Professional sports events 52.1 12. Playing sports 53.8 

13.	 Charity 49.9 13. Professional sports events 53.4 

14.	 Playing sports 49.4 14. Charity 52.1 

15.	 Outdoor activities 48.1 15. Outdoor activities 49.5 

16.	 Listening to literature 33.8 16. Listening to literature 26.3 

17.	 Any amateur-professional arts 17. Any amateur-professional arts 

participation 31.8 participation 25.4 

18. Adult art classes 26.0 18. Adult art classes 24.0 

Note: By definition, 100% of opera and musical theater attendees attend a selected art; thus 

there are only 18 categories. 
Attitudes Toward 

the Arts 

The Desire to Attend More Arts Performances 

An adult’s involvement in the arts is volitional. Thus, the status of presentday arts participation can be considered a fair reading of the degree to which 

the populous is involved in the arts. It is not, however, a measure of the degree 

to which they would like to be involved. The SPPA surveys attempted to measure 

a desire for greater or lesser involvement by asking whether individuals would 

like to attend selected arts performances more often and which ones they would 

choose to attend more often.9 The survey results are summarized in Table 33. 

A statistically significant increase took place between 1982 and 1992 in 

Americans’ desire to attend more performances of all of the selected art forms. 

In 1992, 71.4 percent1° of the population expressed a desire to attend more of 

these arts. Though the 71.4 percent includes both attendees and nonattendees, 

it is high, considering that only 42.5 percent of the population actually attend 

the selected arts. Although respondents may overstate their interest, this still 

suggests a fairly large untapped audience for the arts--an estimated 132 million 

TABLE 33. Percentages of Adult Population Who Want to 

Attend More Selected Arts Performances, 

1982 and 1992 

Arts Activity 1982 (%) 1992 (%) 

Change in Percent 

1982-1992 

Opera 

Musicals 

Classical music 

Jazz 

Plays 

Ballet 

Other dance* 

Art museums 

None of the above* 

7.4 

32.5 

18.1 

18.1 

24.5 

11.7 

NA 

30.7 

NA 

11.0 

36.2 

25.4 

25.2 

33.9 

18.3 

23.8 

37.6 

28.6 

3.6 

3.8 

7.3 

7.1 

9.4 

6.6 

NA 

6.9 

NA 

Note: All changes statistically significant at 95% confidence level
 

*Questions referring to "none of the above" and "other dance" were not asked in 1982.
 

64 
Attitudes Toward the Arts I 65 

adults. The question remains how this predisposition can be brought to the 

muses. 

The 1992 survey shows that 3.3 percent of the U.S. adult population attend 

opera, while 11 percent desire to see more opera--more than three times the 

number that attend. This represents about 20.4 million persons. While this 

includes both those who already attend opera and those who do not, it probably 

indicates potential for an increased opera audience. 

In 1982, musicals ranked first among the art forms the general population 

wanted to see more of (32.5 percent of those surveyed expressed such a desire). 

In 1992, 36.2 percent of those surveyed said they want to see more musicals; but 

this art form dropped to second place, after art museums, which 37.6 percent of 

those surveyed said they wanted to attend more frequently. In terms of numbers 

of individuals, about 70 million persons wanted to attend art museums more 

frequently, and about 67 million wanted to attend more musicals. Notably, this 

correlates with attendance preferences: attendance at art museums is the most 

frequent selected arts activity, followed by attendance at musicals. 

Table 34 shows how arts attendees feel about attending more arts performances. As expected, arts attendees are significantly more likely than the general 

population to express a desire to attend more of the arts (in 1992, 93.4 percent 

versus 71.4 percent). For most of the arts groups, their own art form is the first 

or second choice among those they would like to attend more often. 

However, opera attendees’ first choice among the arts they desire to see more 

often is not opera, but musicals (72.5 percent express such a desire), followed 

by classical music (59.1 percent) and plays (54.8 percent). The selected arts 

groups and the general population place opera last among all the art forms they 

would like to see more of. A much larger percentage of opera-goers (49.4 

percent) want to attend more opera than do any of the other arts attendees. The 

opera-goers are followed by 31.1 percent of the ballet attendees and 26.7 percent 

of the classical music attendees. Of all the arts groups, jazz attendees are the least 

likely to want to attend more opera. (Only 17.5 percent express such a desire.) 

Musical theater attendees’ first choice of an art form they would like to 

attend more often is musicals (71.6 percent express such a desire), followed by 

plays (60.5 percent) and art museums (48.2 percent). As noted, musicals are the 

first choice among opera-goers (72.5 percent), ballet attendees (65.8 percent), 

and classical music goers (63.0 percent). Attendees of jazz performances and 

plays rank musicals second among the art forms they would like to attend more 

of, and "other dance" and art museum attendees rank musicals third. Clearly 

musicals have a strong appeal both for the population as a whole and for the 

selected arts attendees. 

Using these tables as a guide, a development officer interested in increasing 

ticket sales within a particular art form would have to decide where the effort 
 

66 I American Participation in Opera and Musical Theater--1992 

TABLE 34.	 Percentages and Numbers of Adults and
 

Selected Arts Attendees Who Want to Attend
 

More Arts Performances, 1992
 

Arts Attendees 

U.S. Adult Musical Classical Other Art 

Population Opera Theater Music Jazz Plays Ballet Dance Museums 

Attendance rate (%) 3.3 17.4 12.5 10.6 13.5 4.7 7.1 26.7 

Desire to Attend More...
 

Percentage who want to attend more
 

Opera 11.0 49.4 19.8 26.7 17.5 19.1 31.1 20.2 19.6
 

Musical theater 36.2 72.5 71.6 63.0 58.0 61.4 65.8 51.9 56.1
 

Classical music 25.4 59.1 44.6 62.0 39.9 45.8 56.4 43.8 45.1
 

Jazz 25.2 42.9 37.9 41.5 69.4 40.1 40.7 43.5 40.1
 

Plays 33.9 54.8 60.5 58.7 57.5 70.6 59.3 53.8 57.0
 

Ballet 18.3 41.4 33.6 39.7 30.4 33.6 63.0 35.9 33.6
 

Other dance 23.8 34.0 36.9 35.1 36.2 36.6 41.0 49.6 34.2
 

Art museums 37.6 43.1 48.2 50.1 50.9 48.8 45.2 54.0 61.4
 

None of the above 28.6 0.6 4.4 3.3 3.8 4.4 3.1 4.8 4.8 

Estimated number (millions)* 

Opera 20.4 3.0 6.4 6.2 3.4 4.8 2.7 2.7 9.7
 

Musical theater 67.3 4.4 23.1 14.6 11.4 15.4 5.7 6.8 27.8
 

Classical music 47.2 3.6 14.4 14.4 7.9 11.5 4.9 5.8 22.4
 

Jazz 46.8 2.6 12.3 9.6 13.7 10.1 3.6 5.7 19.9
 

Plays 63.0 3.4 19.6 13.6 11.3 17.7 5.2 7.1 28.13
 

Ballet 34.0 2.5 10.9 9.2 6.0 8.4 5.5 4.7 16.7
 

44.2 2.1 11.9 8.2 7.1 9.2 3.6 6.5 17.0
 

Art museums 69.9 2.6 15.6 11.6 10.0 12.2 3.9 7.1 30.5
 

None of the above 53.1 0.0
 

Other dance 

1.4 0.8 0.7 1.1 0.3 0.6 2.4 

*Estimated number of adults was calculated by multiplying 185.838 million by the percentages 

(to one decimal place) above. For benchmark attendees, percentage that want to attend more was 

multiplied by attendance rate, then by population figure. Thus, for opera attendees, 49.4% of 

3.3% of 185.838 million equals 3.0 million. 

would be best spent. For example, a development officer interested in increasing 

opera ticket sales could solicit from the 49.4 percent of the 6.13 million 

opera-goers who expressed a desire to attend more opera. This would net 3 

million potential candidates. On the other hand, the development officer could 

opt to solicit from the the larger pool of 49.6 million persons who attend arts 

museums; 19.6 percent of them stated a desire to attend more opera, resulting 

in 9.7 million potential candidates. One could net 60,000 new ticket sales if2 

percent of all potential opera-goers bought tickets, whereas 97,000 new ticket 

sales would result if only 1 percent of the potential art museum candidates 

bought tickets. 
Attitudes Toward the Arts I 67 

Demographic Profiles of Those Who Want to 

Attend More Performances 

Opera 

Table 35 presents a demographic profile of people who want to attend more 

performances of opera and musical theater. 

Almost 3 million adults (1.6 percent of the adult U.S. population) are 

opera-goers who want to attend more opera. Looking at this group’s demographic characteristics, we find a large proportion are white (83.2 percent), are 

55 to 74 years old (38.5 percent), have postgraduate degrees (37.2 percent), are 

married (58.9 percent), live in the suburbs (60.5 percent), and have incomes of 

$50,000 or more (52.1 percent). Not surprisingly, this profile strongly resembles the profile of the larger group made up of all those who currently 

attend with the following differences: opera-goers who want to attend more 

include a larger proportion of Asians, and they are older and more likely to live 

in the suburbs. 

Over 17 million adults (9.3 percent of the general population) are not 

opera-goers but wish to attend. This group tends to be predominantly female 

(61.1 percent), white (83.3 percent), falling about equally in the age categories 

between 25 and 64 years old, and spread over the educational spectrum (28.4 

percent are high school graduates; 28.5 percent have some college; 19.2 percent 

are college graduates; and 14.9 percent have postgraduate education). Most of 

them are married (59.2 percent) and middle class (41.6 percent in the $25,000 

to $49,999 annual income bracket). Compared with current opera attendees, 

non-opera-going aspirants are more likely to be female, Hispanic, 75 or older, 

less well educated, and less wealthy. 

Recalling that only 3.3 percent of the population currently attend opera, 

the percentage of nonattendees who want to see opera (9.3 percent of the 

population) is significant. Does opera appeal to a wider audience than has been 

assumed? Are opera companies missing individuals who have a genuine interest 

but who cannot attend due to a variety of barriers? Expanding the opera audience 

would require consideration of the potential audience. Among the 11 percent 

of the population who express a desire to attend more opera, those who already 

attend and those who do not reveal significantly different demographic profiles. 

Musical Theater 

As Table 35 indicates, 12.9 percent of all musical theater attendees would 

like to see more musical theater. Their demographics are strikingly similar to 

the larger group made up of all musical theater attendees. The aspirants are 
 

68 I American Participation in Opera and Musical Theater--1992 

TABLE 35.	 Demographic Characteristics of Those Wanting 

to Attend More Opera and Musical Theater, 

1992 (%) 

Those Wanting More 

Those Wanting Musical Theater 

More Opera All Current 

All Current Musical Musical 

U.S. Adult Opera Opera Non- Theater Theater NonPopulation Attendees Attendees attendees Attendees Attendees attendees 

U.S. Adult Population 3.3 1.6 9.3 17.4 12.9 23.3 

Of the percentage of the adult U.S. population that wishes to attend more opera and 

musical theater (shown above), the breakdown according to demographic factors is 

shown below. For example, of the 9.3% of the nonattending population who wish to 

attend more opera, 38.9% are male and 61.1 % are female. 

Gender 

Male 47.9 45.0 45.7 38.9 41.5 39.2 39.5 

Female 52.1 55.0 54.3 61.1 58.5 60.8 60.5 

Race 

White 77.5 84.7 83.2 83.3 84.7 86.7 82.7 

Black 11.2 6.6 5.0 7.6 9.2 8.5 9.1 

Native American 0.5 0.6 0.9 0.2 0.4 0.1 0.2 

Asian 2.6 3.7 5.4 2.6 1.6 1.4 2.2 

Hispanic 8.3 4.4 5.5 6.3 4.2 3.3 3.3 

Age 

18-24 13.0 10.7 12.9 9.3 11.8 10.9 11.5 

25-34 22.8 19.0 14.8 14.4 20.9 18.4 23.4 

35-44 21.4 21.5 14.9 20.6 22.7 23.3 20.0 

45-54 14.9 19.2 16.6 18.6 19.1 20.2 14.7 

55-64 11.4 14.0 20.9 16.4 12.6 13.2 11.7 

65-74 9.9 12.1 1 7.6 12.2 9.5 10.6 11.9 

75+ 6.6 3.5 2.3 8.6 3.3 3.4 6.8 

Education 

0-some high school 17.6 3.9 3.0 9.1 4.1 2.7 9.9 

High school grad 37.3 16.4 21.5 28.4 25.4 23.6 34.6 

Some college 21.0 21.3 22.5 28.5 25.8 26.9 27.3 

College grad 14.0 23.8 15.8 19.2 23.9 25.9 17.1 

Postgrad 9.7 34.6 37.2 14.9 20.8 20.9 20.9 

Marital status 

Married 58.8 57.9 58.9 59.2 59.3 59.6 60.8 

Widowed 7.2 6.4 8.7 9.0 5.9 6.0 7.6 

Divorced 8.7 9.4 9.4 10.3 9.4 10.6 7.4 

Separated 2.9 2.1 2.3 3.2 2.1 2.5 2.9 

Never married 22.3 24.1 20.7 18.3 23.3 21.2 21.3 
Attitudes Toward the Arts I 69 

TABLE 35.	 Demographic Characteristics of Those Wanting
 

to Attend More Opera and Musical Theater,
 

1992 (%) (Continued)
 

Those Wanting More 

Those Wanting Musical Theater 

More Opera All Current 

All Current Musical Musical 

U.S. Adult Opera Opera Non- Theater Theater NonPopulation Attendees Attendees attendees Attendees Attendees attendees 

Place of residence 

Central city/SMSA 32.6 40.6 33.3 36.3 34.4 32.6 33.0 

Suburbs/SMSA 45.0 49.5 60.5 44.0 51.2 53.6 48.0 

Ru ral/non-SMSA 22.4 9.9 6.2 19.7 14.4 13.8 19.1 

Income* 

$0-$14,999 25.2 12.8 10.3 21.7 10.9 8.7 21.4 

$15,000-$24,999 19.3 11.3 8.7 16.0 15.7 14.5 18.1 

$25,000-$49,999 36.6 29.2 28.8 41.6 37.1 36.4 38.3 

$50,000-$74,999 11.9 20.3 25.1 11.2 19.2 19.3 14.3 

$75,000+ 7.0 26.4 27.0 66.0 1 7.1 21.2 7.9 

Note: Not all percentages add up to 100.0% due to rounding.
 

*About 8.4% of those in the survey did not answer the income question; therefore,
 

caution should be used with these figures.
 

predominantly female (60.8 percent), white (86.7 percent), middle-aged (56.7 

percent between ages 35 and 64), well educated (73.7 percent have at least some 

college education), married (59.6 percent), suburban residents (53.6 percent), 

and economically comfortable or wealthy (76.9 percent with incomes of 

$25,000 or more). 

Over 43 million adults (23.3 percent of the general population) do not 

attend musical theater, but would like to. The profiles of these aspirants vary 

significantly from those of the general musical theater attendees. The aspirants 

include more Asians (2.2 percent versus 1.6 percent); a much larger proportion 

of persons aged 65 years and older (28.7 percent versus 12.8 percent); more 

persons with less education (44.5 percent had high school diplomas or less versus 

29.5 percent of current attendees); more rural residents (19.1 percent versus 

14.4 percent); and more people with incomes below $14,999 (21.4 percent 

versus 10.9 percent). 

Combining the almost 24 million adults who currently attend musical 

theater and wish to see more with the over 43 million who do not attend but 

would like to, musical theater has a total potential audience of over 67 million. 

Persons involved in promoting musical theater may find it worthwhile to 
70 I American Participation in Opera and Musical Theater--1992 

consider how the genre can become more inclusive, reaching out to include 

multicultural populations, the elderly, the less affluent, the less educated, and 

more rural residents. 

Music Preferences 

Table 36 shows that, among the general population, interest in almost all 

musical forms increased between 1982 and 1992. Country-western and folk 

(contemporary) were the only two that showed a decrease in the percentage of 

people expressing a preference (decreasing by 6.~5 and 2.1 percentage points, 

respectively). Regardless, country-western remains the most preferred musical 

type, with 51.8 percent of the population expressing a liking for it, followed by 

mood/easy listening (48.9 percent), then rock (43.5 percent). Opera and rap 

are the least popular musical forms, attracting only 12.1 percent and 11.6 

percent of the population, respectively. 

Compared with the general population, selected arts attendees are more 

likely to listen to every type of music except country-western. More than 54 

percent of the arts attendees like classical/chamber music, for example, compared with slightly more than ~53 percent of the general population. 

Compared with arts attendees as a whole and with the general population, 

opera attendees show a stronger preference for most types of music. Their first 

choice is classical music (preferred by 74.0 percent), followed by show tunes/ 

operetta (69.8 percent), then mood/easy listening (65.1 percent). Curiously, in 

1992 opera music ranked seventh among opera-goers’ preferred types of music, 

with 56.4 percent expressing a liking for it. In 1982 opera music was operagoers’ third choice. 

Between 1982 and 1992 the percentage of opera attendees expressing a 

preference increased for all types of music except folk and---ironically--opera. 

The percentage of opera attendees expressing a preference for opera music 

dropped from 59.8 percent in 1982 to 56.4 percent in 1992. 

Musical theater attendees’ first choice in music is mood/easy listening (liked 

by 67.7 percent), followed by classical/chamber music (58.2 percent), then 

blues/R&B (57.8 percent). Musicals/operetta ranked fourth in 1992, appealing 

to 55.5 percent of all musical theater attendees. In 1982 this genre ranked third. 

Between 1982 and 1992 there was an increased preference for all musical forms 

except folk and country-western. 

The question asking respondents to identify their favorite type of music 

reveals a somewhat altered picture (see Table 37). Country-western still emerges 

with the highest percentage of followers in the general population (21.4 

percent), followed by rock (14.2 percent), hymns/gospel (9.4 percent), and 
 

Attitudes Toward the Arts I 71 

TABLE 36. Music Preferences, 1982 and 1992 (%) 

Attendees Musical 

U.S. Adult at Any Opera Theater 

Music Preferences Population Selected Arts* Attendees Attendees 

("Do you like to 

listen to...’) 1982 1992 1982 1992 1982 1992 1982 1992 

Classical/Chamber 27.4 33.3 45.2 54.2 68.0 74.0 47.0 58.2 

Opera 9.5 12.1 16.4 19.8 59.8 56.4 18.3 23.6 

Show tunes/ 

Operetta 22.9 27.5 41.0 44.9 64.0 69.8 48.8 55.5 

Jazz 26.0 33.9 40.1 50.9 52.2 59.1 38.0 52.3 

Reggae NA 19.1 NA 29.0 NA 27.3 NA 28.8 

Rap NA 11.6 NA 14.1 NA 10.3 NA 13.8 

Soul/Blues/R&B 26.7 36.7 40.9 36.2 

Soul 24.1 33.2 28.5 32.9 

Blues/R&B 40.3 56.0 61.5 57.8 

Latin/Salsa NA 19.7 NA 26.9 NA 29.7 NA 27.0 

Big band 32.2 34.8 44.3 48.1 57.1 60.8 46.4 53.0 

Parade/March NA 18.3 NA 24.0 NA 29.4 NA 26.0 

Country-Western 58.1 51.8 54.6 50.6 41.1 45.8 52.6 4%1 

Bluegrass 24.4 29.4 28.9 34.6 29.8 36.8 28.1 34.1 

Rock 35.3 43.5 41 ~9 53.8 32.8 41.9 37.5 53.2 

Ethnic/National NA 21.6 NA 30.3 NA 39.0 NA 31.9 

Folk 

(contemporary)4 24.8 22.7 36.2 33.7 42.6 41.8 39.2 36.0 

Mood/Easy 

listening 47.8 48.9 62.4 62.5 58.9 65.1 66.4 67.7 

New Age NA 15.3 NA 24.2 NA 33.7 NA 24.9 

Choral/Glee club NA 14.2 NA 21.9 NA 30.8 NA 25.1 

Hymns/Gospel 36.0 38.4 35.7 42.7 37.6 37.7 35.3 43.4 

Barbershop 14.5 NA 19.8 NA 28.4 NA 22.0 NA 

Note: NA indicates questions were not asked.
 

*Selected arts include opera, classical music, ballet, plays, jazz, musical theater, and
 

art museums. "Other dance" was not included in 1982 and for comparative purposes
 

is excluded in these figures for 1992.
 

±The wording of the question was changed bet~veen 1982 and 1992.
 
72 I American Participation in Opera and Musical Theater--1992 

mood/easy listening (9.1 percent). These four musical forms were the four top 

favorites in 1982 as well. However, 13.3 percent of the general population 

claimed they had no favorite. 

Opera attendees’ favorite music by far in both 1982 and 1992 was classical/chamber, with 28.8 percent and 19 percent claiming this category as their 

favorite in the two years, respectively. Their next choices in 1992 were rock (8.6 

percent), then jazz (8.3 percent) and mood/easy listening (7.5 percent). Similar 

to the general population, a large proportion of opera attendees claimed they 

had no favorite type of music (14.5 percent). 

Musical theater attendees’ favorite type of music in 1992 was rock (14.5 

percent), then mood/easy listening (12.3 percent) and country-western (12.1 

percent). The largest proportion claimed they had no favorite type of music 

(14.8 percent). 

Summary 

More people appear to want to frequent the fine arts than actually do so. In 

1992, 71.4 percent of the population expressed a desire to attend more of the 

eight selected arts, compared with the 42.5 percent who actually attended. _As 

well, while the actual percentage of adults who attended the selected arts did 

not increase significantly between 1982 and 1992 (the increase was only about 

2 percentage points), the percentage of people who said they would like to attend 

more arts performances increased significantly in the various arts categories, 

ranging from 3.6 percentage points for opera to 9.4 percentage points for plays. 

In 1992, 11 percent of the population wanted to see more opera (1.6 percent 

of the population identified themselves as opera-goers who want to see more 

opera, and 9.3 percent were nonattendees who want to attend). More than three 

times as many individuals expressed a desire to attend opera as actually attend 

(11 percent versus 3.3 percent). 

Opera attendees who want to attend more frequently resemble current 

attendees in general, although their numbers include slightly more Asians, 

suburbanites, and older folks. The nonattendees who want to attend more, on 

the other hand, are a different ilk. Compared with current attendees, more of 

their numbers are female, Hispanic, very old, less educated, and not as wealthy. 

In 1982, musicals ranked first as the surveyed art form individuals wanted 

to attend more frequently, with 32.5 percent of the population expressing such 

a desire. In 1992, musicals were second to art museums: 36.2 percent of the 

public wanted to attend more musicals, 37.6 percent wanted to go to art 

museums more frequently. Compared with the 36.2 percent who wanted to 

attend more, 17.4 percent of the adult public actually attended musicals. Among 
Attitudes Toward the Arts I 73 

TABLE 37. Favorite Type of Music, 1982 and 1992 (%) 

Attendees Musical 

U.S. Adult at Any Opera Theater 

Population Selected Arts* Attendees Attendeees 

Favorite Music
 

("Which type do you like best?")
 

 ̄ 1982. 

Classical/Chamber 6.8 11.8 28.8 13.3 

Opera 0.6 0.8 2.9 1.0 

S how tu nes/O peretta 2.4 4.1 9.6 6.1 

Jazz 3.4 6.2 5.6 5~8 

Soul/Blues/R&B 4.5 4.0 2.6 3.7 

Big band 5.8 5.4 6.3 5.9 

Country-Western 23.6 13.7 2.3 11.6 

Bluegrass 0.9 0.7 0.0 0.7 

Rock 15.0 14.9 4.7 12.6 

Folk (contemporary)~ 1.3 2.2 1.9 2.1 

Mood/Easy listening 13.9 1 7.6 12.8 18.8 

Hymns/Gospel 11.0 6.4 4.2 5.5 

Barbershop 0.3 0.2 0.8 0.4 

No type best 7.6 9.3 10.5 9.4 

Other/all 2.9 2.7 7.0 3.2 

Totals 1982 100.0 100.0 100.0 100.1 

1992­

Classical/Chamber 6.0 9.3 19.0 9.6
 

Opera 0.6 0.9 5.5 1.5
 

Show tunes/Operetta 1.5 2.1 5.4 2.9
 

Jazz 5.2 8.2 8.3 7.9
 

Reggae 0.9 1.0 2.3 0.9
 

Rap 1.3 0.9 0.0 0.6
 

Soul 1.7 1.9 2.9 1.5
 

Blues/R&B 2.5 3.2 2.7 3.0
 

Lati n/Salsa 2.6 1.2 1.0 0.6
 

Big band 4.0 4.7 4.8 5.4
 

Parade/March 0.3 0.4 0.0 0.4
 

Country-Western 21.4 12.8 5.6 12.1
 

Bluegrass 0.6 0.8 0.0 0.7
 

Rock 14.2 15.6 8.6 14.5
 

Ethnic/National 2.7 1.8 1.5 1.1
 

Folk (contemporary)~ 0.9 1.5 1.9 1.2
 

Mood/Easy listening 9.1 10.1 7.5 12.3
 

New Age 1.5 2.7 4.3 2.5
 

Choral/Glee Club 0.2 0.2 0.0 0.2
 
74 I American Participation in Opera and Musical Theater--1992 

TABLE 37. Favorite Type of Music, 1982 and 1992 (%) 

(Continued) 

U.S. Adult 

Population 

Attendees 

at Any 

Selected Arts* 

Opera 

Attendees 

Musical 

Theater 

Attendeees 

Hymns/Gospel 

No type best 

9.4 

13.3 

6.8 

13.9 

4.2 

14.5 

6.2 

14.8 

Totals 1992 99.9 100.0 100.0 99.9 

Note: The number of choices varied from 1982 to 1992, and so the exact percentages 

of the U.S. adult population are not comparable between years. Not all percentages 

add up to 100.0% due to rounding. 

*Selected arts include opera, classical music, ballet, plays, jazz, musicals, and art 

museums. "Other dance" was not included in 1982 and for comparative purposes is 

excluded in these figures for 1992. 

tThe wording of the question was changed between 1982 and 1992. 

those who wanted to attend more, about one-third were current attendees 

(comprising 12.9 percent), and two-thirds were not current attendees (23.3 

percent). 

The profiles of musical theater attendees who want to attend more parallel 

those of the general musical theater attendees. However, the profiles of nonattendees who want to go are quite different. More of their ranks are Asian, older, 

less educated, rural, and less economically advantaged. 

Clearly there are categories of persons who express interest in attending 

opera and musical theater who are outside the traditional audiences, kVv~hether 

and how they could be included may present a challenge for each art profession. 

Despite showing a decrease in attendance between 1982 and 1992, American musicals/operetta remains popular among both the general population as 

well as attendees of other fine arts. For all of the selected arts attendees except 

those who attend jazz, plays, "other dance," and art museums, musicals/operetta 

is their first choice of art form they would like to see more of. Among these 

attendees, it is their second or third choice. 

Opera attendees appear to be real music buffs. Compared with the general 

population and with other arts attendees, a larger percentage of them express a 

liking for various types of music. 
Related Research
 

OPera and musical theater companies submit records to service organizations that publish regional and national overviews of their respective fields. 

Attendance rates and audience figures provided by some of these organizations 

allow some comparisons with SPPA attendance rates. 

Opera 

The national service organization that serves opera is OPERA America. It 

conducts annual surveys of its membership of professional American and 

Canadian opera companies. Although its attendance figures combine both 

American and Canadian companies, OPERA America estimates that about 10 

percent of its attendance is Canadian. In any given year, approximately 5 percent 

of all North American opera companies are not members of OPERA America, 

and the annual survey is not always inclusive of all members.ll 

OPERA America defines a professional opera company as a nonprofit 

organization with an annual budget of at least $100,000 that produces and 

performs at least two performances of two staged productions each season, 

employs at least one full-time general/artistic/music director plus a professional 

manager on a full-time or seasonal basis, and uses an orchestra and paid 

professional artists for production. Data from OPERA America show that the 

number of professional opera companies in the United States increased from 

80 in 1982 to 100 in 1992. 

Excluding the 10 percent attendance attributed to Canadian companies 

according to OPERA America, for 1992 the estimated total U.S. opera attendance was 6.3 million. This included attendance at performances with paid 

admissions, plus estimated attendance at free performances and other events 

sponsored by opera companies, including lectures, dress rehearsals, and educational previews. The SPPA survey estimated the audience at 10.31 million by 

adding up the number of times respondents said they attended during the year.12 

The higher SPPA attendance figure would include attendance at nonprofessional productions, such as those at colleges and universities and opera clubs. 

75 
76 I American Participation in Opera and Musical Theater--1992 

Musical Theater 

The League of American Theatres and Producers, Inc., tracks data on 

Broadway and touring companies and compiles data from a number of other 

national theater organizations. The following are their estimates of Broadway 

attendance from the 1981-82 to the 1992-93 seasons, including musicals and 

plays:13 

Season Attendance (in millions) 

1981-82 10.1 

1982-83 8.4 

1983-84 7.9 

1984-85 7.4 

1985-86 6.6 

1986-87 7.05 

1987-88 8.14 

1988-89 7.97 

1989-90 8.03 

1990-91 7.32 

1991-92 7.37 

1992-93 7.86 

In any given Broadway season, musicals tend to outnumber plays. Broadway 

attendance reflects the SPPA national trend between 1982 and 1992 in terms 

of the declining attendance at musicals. 

The following are the League’s estimates and calculations of theater (musicals and plays) attendance in the entire United States for the 1991 fiscal year 

(see Notes for sources of data): 

Professional Theater Total 51,665,198 

Broadway 7,320,00014 

Broadway National and Bus and Truck Tours 17,700,00015 

Nonprofit Professional Theater 16,645,19816 

Other Regional Musical Theater 5,000,00017 

Dinner Theater 5,000,00018 

The League calculated that musicals accounted for 67 percent of the 

attendance. This amounts to 36,265,682 persons attending musical theater in 

the 1990-91 season.19 National data from the SPPA estimated U.S. attendance 
Related Research [ 77 

for musicals to be 65.25 million persons. This was calculated by adding up the 

number of times respondents said they attended during the year.2° 

The demographic data of Broadway musical theater attendees indicate that 

the majority are female (61.8 percent), about a third are between the ages of 35 

and 49 (32.7 percent), and another third are 50 or older (32.6 percent). Most 

are married (54.8 percent), although a large proportion are single (32.1 percent). 

Twenty-one percent are in the $50,000 to $75,000 income bracket, while 46.7 

percent have incomes over $75,000. Nearly two-thirds (64.7 percent) have 

college degrees or more, and more than a fourth (28.8 percent) have graduate 

degrees.21 

The profile of the Broadway musical theater attendee reflects that of the 

SPPA musical theater attendee, but is more extreme. Broadway-goers are more 

likely to be female, somewhat older, wealthier, and more highly educated. 

Summary 

The larger audience estimates for both opera and musical theater/operetta 

tracked by the SPPA survey versus the service organizations are due, in part, to 

their different data sources. The service organizations obtain their data from 

ticket sales reported by professional opera and theater organizations. Neither 

OPERA America nor the League’s membership includes the total universe of 

national professional and semiprofessional organizations; this reduces their 

audience estimates. 

The SPPA survey obtained attendance estimates by interviewing a random 

U.S. adult population sample based on their recollections of attending opera/musicals within the last 12 months; recollections could be inflated. As well, 

attendance included semiprofessional and nonprofessional productions, such as 

those produced by colleges and community organizations, which would increase 

the attendance figures. 

Taking into consideration the differences in data sources, the discrepancy 

between the audience estimates collected by service organizations and the SPPA 

survey is still substantial and should be questioned further. 
 

Appendix A 

Survey of Public Participation in the 

Arts Questionnaire, 1992 

INTRODUCTION - Now I have some questions about your leisure activities. The Bureau of the 

Census is collecting this information for the National Endowment for the Arts. The survey is 

authorized by Title 20, United States Code, section 954 and Title 13, United States Code, section 

8. Your participation in this interview is voluntary and there are no penalties for not answering 

some or all of the questions. (If PERSONAL INTERVIEW, hand respondent the Privacy Act Statement, 

SPPA-13.) ~ 

The following questions are about YOUR 

activities during the LAST 12 months-­

between 1, 19 __, and

.... 19__. 

With the exception of elementary or high

school performances, did YOU go to a live

jazz performance during the LAST 12

MONTHS? 

0r~No 

Yes - About how many times did you do 

this during the LAST 12 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

during the LAST 12 MONTHS? 

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 

opera during the LAST 12 MONTHS? 

~ 0[]No 

Yes - About how many times did you do this during the LAST 12 MONTHS? 

[~ Number of times 

4.	 (With the exception of elementary or high

school performances,) Did you go to e live

musical stage play or an operetta during

the LAST 12 MONTHS? 

~ 0r-3 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

during the LAST 12 MONTHS? 

~ oF]No 

Yes - About how many times did you do 

this during the LAST 12 MONTHS? 

[~ Number of times 

6. (With the exception of elementary or high

school performances,) Did you go to a live 

ballet performance during the LAST 12

MONTHS? 

~ oI--INo 

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? 

~ 0[]No

Yes - About how many times did you do 

this during the LAST 12 MONTHS? 

~ Number of times 

8.	 (During the LAST 12 MONTHS,) Did you


visit an ART museum or gallery?
 

~ o(~No 

Yes - About how many times did you do this during the LAST 12 MONTHS? 

[~ Number of times 

9,	 (During the LAST 12 MONTHS,) Did you 

visit an ART fair or festival, or a CRAFT fair or festival? 

~ o~]No 

Yes - About how many times did you do 

this during the LAST 12 MONTHS? 

~--"~ Number of times 

78 
Appendix A-- Survey Questionnaire I 79 

10.	 (During the LAST 12 MONTHS,) Did you
 

visit an historic perk or monument, or


tour buildings, or neighborhoods for their

historic or design value? 

~ 0[]No

Yes - About how many times did you do 

this during the LAST 12 MONTHS? 

~[~ Number of times 

1.	 With the exception of books required for


work or school, did you read any books


during the LAST 12 MONTHS?
 

~ o~No 

Yes - About how many books did you read during the LAST 12 MONTHS? 

~ Number of books 

12.	 (During the LAST 12 MONTHS,) Did you


read any -


Read answer categories 

a. Plays? [~ ~[No ~E3Yes 

b. Poetry? ~ ~rqNo 2[qYes 

c. Novels or short stories? [-~ 1F]No 2rqYes 

13.	 (During the LAST 12 MONTHS,) Did you


listen to ­

a. A reading of poetry, 

either live or recorded? [~ ~[~N0 2[~Yes 

b. A reading of novels or 

books either live or 

recorded? [~ ~r~No ~r~Yes 

14a.(During the LAST 12 MONTHS,) Did you
 watch a jazz performance on television or


a video (VCR) tape?
 

lrqNo - Skip to item 14c 

Yes - Was that on TV, VCR, or both? 

2[~TV 

3~]VCR 

4 [ Both 

b.About how many times did you do this in

the LAST 12 MONTHS? 

Number of times 

c. (During the LAST 12 MONTHS,) Did you

listen to jazz on radio? 

~rqYes 

d. (During the LAST 12 MONTHS,) Did you

listen to jazz records, tapes, or compact

discs? 

~@Yes 

15a.(During the LAST 12 MONTHS,) Did you
 

watch a classical music performance on


television or a video (VCR) tape? 

~C]No - Skip to item 15c 

Yes - Was that on TV, VCR, or both? 

~I-1TV 

3[~VCR
 

4 [] Both
 

b. About how many times did you do this (in

the LAST 12 MONTHS)? 

~ [~ Number of times 

c.	 (During the LAST 12 MONTHS,) Did you

listen to classical music on radio? 

~ ~[]N0 

~[~Yes 

d. (During the LAST 12 MONTHS,) Did you

listen to classical music records, tapes or

compact discs? 

2F]Yes 

16a.(During the LAST 12 MONTHS,) Did you
 

watch an opera on television or a video
 (VCR) tape? 

~ ~l-’lNo - Skip to item 16c 

Yes - Wee that off TV, VCR, or both? 

z[~TV
 

3E~]VCR
 

4[~Both
 

b.About how many times did you do this (in

the LAST 12 MONTHS)? 

~ Number of times 

c.(During the LAST 12 MONTHS,) Did you

listen to opera music on radio? 

~ ~ r-]No 

2r-]Yes 

d. (During the LAST 12 MONTHS,) Did you

listen to opera music records, tapes, or

compact discs? 

~ ~FINo 

2FIYes 

17a.With the exception of movies, did you watch a musical stage play or an operetta

on television or a video (VCR) tape during

the LAST 12 MONTHS? 

~ d-lNo - Skip to item 17c 

Yes - Was that on TV, VCR, or both? 

3[]VCR
 

4 [] Both
 

b. About how many times did you do this (in 

the LAST 12 MONTHS)? 

~ Number of times 

c.	 (During the LAST 12 MONTHS,) Did you

listen to a musical stage play or an operetta

on radio? 

~rqYes 

d. (During the LAST 12 MONTHS,) Did you 

listen to a musical stage play or an operetta

on records, tapes, or compact discs? 

~ l~qNo 

z~Yes 
80 I American Participation in Opera and Musical Theater--1992 

18a.With the exception of movies, situation comedies, or "IV series, did you watch a

non-musical stage ~lay on television or a video

(VCR) tape during the LAST 12 MONTHS? 

II-]No - Skip tO item lclc 

Yes - Was that on TV, VCR, or both? 

2r-]TV
 

31~VCR 

4 [] 80t h 

b.About how many times did you do this (in the

LAST 12 MONTHS)? 

Number of times 

c. (During the LAST 12 MONTHS,) Did you listen

to a radio performance of a non-musical stage

play? 

2r-rYes 

19a.With the exception of music videos, did you
 watch on television or a video (VCR) tape


dance such as ballet, modern, folk, or tap


during the LAST 12 MONTHS?
 

1 [] NO - Skip to item 20a 

Yes - Was that on TV, VCR, or both? 

~VCR 

4 [] Both 

b. About how many times did you do this (in

the LAST 12 MONTHS)? 

~’~ Number of times 

20a.(During the LAST 12 MONTHS,) Did you watch a program about artists, art works, or art

museums on television or a video (VCR) tape? 

~ []No - Skip to item 21a 

Yes - Was that on TV, VCR, or both? 

21~TV 

3~IVCR 

4[~ Both 

b.About how many times did you do this (in

the LAST 12 MONTHS)? 

Number of times 

21a.l’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. 

[]Jazz music performances
 

2~’]Classical music performances
 

3[]Operas
 

[ Musical plays or operettas 

[] Non.musical plays 

[] Ballet performances 

[] Dance performances other than ballet 

8[~Art museums or galleries 

9[]None of these - Skip to item 22a 

If only one is chosen, skip to item 22a.

If more than one is chosen, ask ­

b. Which of these would you like to do most? 

~ ~Category number 

oo[]No one thing most 

22a.The following questions are about your
 participation in other leisure activities.
 

Approximately how many hours of television 

do you watch on an average day? 

~ ~ Number of hours 

b.During the LAST 12 MONTHS, did YOU go

out to the movies? 

~[Yes 

c. With the exception of youth sports, did you 

go to any amateur or professional sports

events during the LAST 12 MONTHS? 

~ ~[No
 8rqYes
 

d. During the LAST 12 MONTHS, did you go to

an amusement or theme park, a carnival, or

a similar place of entertainment? 

2FIYes 

e. During the LAST 12 MONTHS, did you jog,

lift weights, walk, or participate in any other

exercise 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? 

~ ,rqNo 

2[qYes 

g. Did you participate in any outdoor activities, 

such as camping, hiking, or canoeing during

the LAST 12 MONTHS? 

2[Yes 

h. Did you do volunteer or charity work during

the LAST 12 MONTHS? 

~F]Yes 

Did you make repairs or improvements on

your own home during the LAST 12

MONTHS? 

~r-INo
 

2[Yes
 

Did you work with indoor plants or do any

gardening for pleasure during the LAST 12

MONTHS? 

1[]No 

2[Yes 

23a.(During the LAST 12 MONTHS,) Did you work
 

with pottery, ceramics, jewelry, or do any


leatherwork or metalwork?
 

~ [] No - Skip to item 24a
 

2~]Yes
 

b. Did you publicly display any of your works? 

~ ,[]No 

2[-IYes 

Page 3 
Appendix A-- Survey Questionnaire I 81 

24a.(During the LAST 12 MONTHS,) Did you do
 any weaving, crocheting, quilting,


needlepoint, or sewing?
 

~	 ~[~No - Skip to item 25a 

2r~Yes 

b. Did you publicly display any of your works? 

~ ~[]No 2FqYes 

25a.(During the LAST 12 MONTHS,) Did you 

make photographs, movies, or video tapes 

as an artistic activity? 

~	 ~ [] NO - Skip to item 26a 

2[QYes 

b. Did you publicly display any of your works? 

~ ,[]No 

2[]Yes 

26a.(During the LAST 12 MONTHS,) Did you do
 

any painting, drawing, sculpture, or


printmaking activities?
 

~	 lr~No - Skip to item 27a 

~FqYes 

b. Did you publicly display any of your works? 

~ ~ I-IN ̄ 

2[]Yes 

27a.With the exception of work or school, did you do any creative writing such as stories, poems,

or plays during the LAST 12 MONTHS? 

o7~--]	 ~ r-~No - Skip to item 28a 

2[]Yes 

b. Were any of your writings published? 

~ ~F3No 

~F-IYes 

28a.Did you write or compose any music during
 the LAST 12 MONTHS?
 

1[]No - Skip to item 29a
 

2[~Yes
 

b.Was your musical composition played in a

public performance or rehearsed for a public

performance? 

~[~Yes 

29a. Do you own any original pieces of art, such


as paintings, drawings, sculpture, prints, or


lithographs?
 

~	 ~[~No - Skip to item 30a 

2[]Yes 

b. Did you purchase or acquire any of these

pieces during the LAST 12 MONTHS? 

~ , F-i NO 

~[]Yes 

30a. During the LAST 12 MONTHS, did you


perform or rehearse any jazz music?
 

~	 ~ I’-]No -Sktp to item 31a 

2[~ Yes 

30b.Did you play any jazz in a public performance
 

or rehearse for a public performance?
 

2F]Yes 

31a.During the LAST 12 MONTHS, did you play
 any classical music?
 

~	 ~ [] No - Skip to item 32a 

2[]Yes 

b. Did you play classical music in a public


performance or rehearse for a public


performance?
 

~ I [~]No 

2[~Yes 

32a. During the LAST 12 MONTHS, did you sing any

music from an opera? 

o--~ ~ [] NO - Skip to item 33a 

2[]Yes 

b. Did you sing in a public opera performance

or rehearse for a public performance? 

33a.During the LAST 12 MONTHS, did you sing 

music from a musical play or operetta? 

~[]No - Skip to item 33c
 21-qYes
 

b. Did you sing in a public performance of a

musical play or operetta or rehearse for a 

public performance? 

~[]No
 

2[~Yes
 

c. During the LAST 12 MONTHS, did you sing in

a public performance with a chorale, choir,

or glee club or other type of vocal group, or

rehearse for a public performance? 

34. (During the LAST 12 MONTHS,) Did you act in a public performance of a non-musical play or

rehearse for a public performance? 

35a.(During the LAST 12 MONTHS,) Did you dance any ballet? 

~[qNo - Skip to item 36a
 

2[]Yes
 

b.Did you dance ballet in a public performance

or rehearse for a public performance? 

2[]Yes 

36a.(During the LAST 12 MONTHS,) Did you do any dancing other than ballet such as modern, folk,

or tap? 

~ FqNo - Skip to item 37a
 

21~Yes
 

b. Did you dance modern, folk, or tap in a


public performance?
 

~ ,ONo 

2[]Yes 
82 I American Participation in Opera and Musical Theater--1992 

37a. l’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. 

~ ~ [] Classical/Chamber music

2 [] Opera 

3 [] Operetta/Broadway musicals/Show tunes 

4[]Jazz 

5 [] Reggae (R~g g~y’) 

6~] Rap music 

~ 7[]Soul
 

6[~ Blues/Rhythm and blues
 

s [] Latin/Spanish/Salsa
 

~ 10r~Big band
 

~÷,,_~1 [] Parade/Marching band
 

~2 [] Country-western
 

~ 13 [] Bluegrass
 

~4r~ Rock
 

:5[]The music of a particular Ethnic/
 

National tradition
 

~ ~s~lContemporary folk music
 

17[~Mood/Easy listening
 

~8[]New age music
 

~9[]Choral/Glee club

~01~] Hymns/Gospel 

2~ [] All 

~[] 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? 

~ [~ Category number 

00[] No one type best 

38a.Have you EVER taken lessons or classes in
 

music - either voice training or playing an


instrument?
 

~ []No - Skip to item 39a
 

2[~Yes
 

b.Did you take these lessons when you were - Read categories. (Do not read category 4 if respondent is under 25 years old.)

Mark (X) all that apply. 

~	 ~Less than 12 years old
 

2[]12-17 years old
 

3[] 18-24 years old
 

4[]25 or elder 

Refer to item 38b 

Is box 1 or 2 marked in item 38b? 

r~No - Skip to Check Item B 

[] Yes - Ask item 38c 

38c. Were these lessons or classes offered by the
 

elementary or high school you were


attending or did you take these lessons


elsewhere?
 

~	 ~[]Elementary/high school 

~ [] Elsewhere 

3[~Both 

Refer to item 38b
 

If box 4 is marked in item 38b, ASK item 38d.
 

If not- Is box 2 or 3 marked in item 38b AND
 

the respondent is under 25 years old? -­

[]No - Skip to item 39a
 

[] Yes - Ask item 38d
 

38d. Did you take any of these lessons or


classes in the past year?
 

2[~ Yes 

39a. (Have you EVER taken lessons or

classes) in visual arts such as sculpture, 

painting, print making, photography, or

film making? 

~	 t[]No - Skip to item 40a
 

2~Yes
 

Did you take these lessons when you were - Read categories. (Do not read category 4 if

respondent is under 25 years old.)

Mark (X) all that apply. 

~	 ir-]Less than 12 years old
 

2[~ 12-17 years old
 

3[] 18-24 years old
 

4[]25 or older 

Refer to item 39b 

Is box 1 or 2 marked in item 39b? 

I~No - Skip to Check Item D 

[]Yes - Ask item 39c 

39c.Were these lessons or classes offered by the
 

elementary or high school you were


attending or did you take these lessons


elsewhere?
 

~-~ t []Elementary/high school
 

~ [] Elsewhere
 

3 [] Both
 

Refer to item 39b 

If box 4 is marked in item 39b, ASK item 39d. 

If not - Is box 2 or 3 marked in item 39b AND 

the respondent is under 25 years old? -­

[]No - Skip to item 40a 

[]Yes - Ask item 39d 

39d.Did you take any of these lessons or classes
 in the past year?
 

40a. (Have you EVER taken lessons or classes) in


acting or theater?
 

~	 ~l--INo - Skip to item 41a
 

~[]Yes
 

Did you take these lessons when you were -

Read categories. (Do not read category 4 if

respondent is under 25 years old.)

Mark (X) all that apply. 

~	 1[]Less than 12 years old 

~[]12-17 years old
 

3[]18-24 years old
 

4 [] 25 or older
 

Refer to item 40b 

Is box 1 or 2 marked in item 40b? 

[]No - Skip to Check Item F 

[] Yes - Ask item 40c 

40c.Were these lessons or classes offered by the
 

elementary or high school you were


attending or did you take these lessons


elsewhere?
 

~	 ~[]Elementary/high school 

2 [] Elsewhere 

31~Both 

Page 5 
Appendix A-- Survey Questionnaire 1 83 

Refer to item 40b 

If box 4 is marked in item 40b, ASK item 40d. 

If not - Is box 2 or 3 marked in item 40b AND 

the respondent is under 25 years old? 

1"-I No - Skip to item 41a 

[]Yes - Ask item 40d 

40d.Did you take any of those lessons or classes
 in the past year?
 

41a.(Have you EVER taken lessons or classes) in
 ballet?
 

~	 ~ []No - Skip to item 42a 

2[]Yes 

b.Did you take these lessons when you were -

Read categories. (Do not read category 4 if respondent is under 25 years old.)

Mark (X) all that apply. 

~	 ~ [] Less than 12 years old 

2[] 12-17 years old
 

31~ 18-24 years old
 

4F~25 or older
 

Refer to item 41b 

Is box 1 or 2 marked in item 41b? 

r~No - Skip to Check Item H 

[] Yes - Ask item 4 Ic 

41c. Wore those lessons or classes offered by the 

elementary or high school you were

attending or did you take these lessons

elsewhere? 

~	 1 []Elementary/high school
 

~ [] Elsewhere
 

3 [] Both
 

Refer to item 41b 

If box 4 is marked in item 41b, ASK item 41d. 

If not - Is box 2 or 3 marked in item 41b AN~D the respondent is under 25 years old? 

~]No - Skip to item 42a 

[]Yes - Ask item 41d 

41d.Did you take any of these lessons or classes in the past year? 

~ ,[]No ~}Yes 

42a. (Have you EVER taken lessons or classes) in

dance, other than ballet such as modern, folk

or tap? 

2[]Yes 

b. Did you take these lessons when you were -

Read categories. (Do not read category 4 if 

respondent is under 25 years old.)

Mark (X) all that apply. 

,[]Less than 12 years old
 

2[]12-17 years old
 

~[] 18-24 years old
 

4[]25 or older 

Refer to item 42b 

Is box 1 or 2 marked in item 42b? 

[]No - Skip to Check Item J 

[]Yes - Ask item 42c 

42c.Were these lessons or classes offered by the elementary or high school you were 

attending or did you take these lessons

elsewhere? 

1[] Elementary/high school
 

2[] Elsewhere
 

3 [] Both
 

Refer to item 42b 

If box 4 is marked in item 42b, ASK item 42d. 

If not - Is box 2 or 3 marked in item 42b AND 

the respondent is under 25 years old? 

[]No - Skip to item 43a 

[]Yes - Ask item 42d 

42d.Did you take any of these lessons or classes
 in the past year?
 

~ ,[]No 

2r~Yes 

43a. Have you EVER taken lessons or classes in


creative writing?
 

~	 ~[]No - Skip to item 44a 

2r-lYes 

b. Did you take these lessons when you were -

Read categories. (Do not read category 4 if

respondent is under 25 years old,)

Mark (X) all that apply, 

~ ,[]Less then 12 years old 

->::- 2[]12-17 years old
 

3[] 18-24 years old
 

4[]25 or older
 

Refer to item 43b 

Is box 1 or 2 marked in item 43b? 

[]No - Skip to Check Item L 

[]Yes - Ask item 43c 

43c.Were these lessons or classes offered by the
 

elementary or high school you were


attending or did you take these lessons


elsewhere?
 

, [] Elementary/high school
 

2[] Elsewhere
 

3[]Both 

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 AN__~D 

the respondent is under 25 years old? 

[] NO - Skip to item 44a 

[]Yes - Ask item 43d 

43d.Did you take any of these lessons or classes
 in the pest year?
 

~ ,[]No ~[]Yes 

44a.(Have you EVER taken a class) in art
 

appreciation or art history?
 

~	 ~ []No - Skip to item 45a 

2r-lYes 

b. Did you take this class when you were -

Read categories. (Do not read category 4 if respondent is under 25 years old.)

Mark (X) all that apply. 

~	 ,[]Less than 12 years old 

2[-112-17 years old 

3[]18-24 years old 

4[]25 or older 
84 1 American Participation in Opera and Musical Theater--1992 

Refer to item 44b 

ts box 1 or 2 marked in item 44b? 

E3No - Skip to Check Item N 

r~Yes - Ask item 44c 

44c. Was this class offered by the elementary or


high school you were attending or did you


take this class elsewhere?
 

~	 ~[]Elementary/high school 

~ [] Elsewhere 

3r-]Both 

Refer to item 44b 

If box 4 is marked in item 44b, ASK item 44d. 

If not - Is box 2 or 3 marked in item 44b AN._..~D 

the respondent is under 25 years old? 

[]No - Skip to item 45a 

[]Yes - Ask item 44d 

44d.Did you take any of these lessons or classes
 

in the past year?
 

~ 1[]No 

21"3Yes 

45a.(Have you EVER taken a class) in music
 appreciation?
 

~	 1 [] No - Skip to item 46a 

~l’-IYes 

b. Did you take this class when you were -

Read categories. (Do not read category 4 if 

respondent is under 25 years old.)

Mark (X) all that apply. 

~ I r-lLess than 12 years old 

÷ ~r-]12-17 years old
 ~r-] 18-24 years old
 

4[-~25 or older
 

Refer to item 45b 

Is box 1 or 2 marked in item 45b? 

r-]No- Skip to Check Item P 

[] Yes - Ask item 45c 

Notes 

45c.Was this class offered by the elementary or
 high school you were attending or did you


take this class elsewhere?
 

~ [] Elementary/high school
 

2[-IEIsewhere
 

3 [] Both
 

Refer to item 45b 

If box 4 is marked in item 45b, ASK item 45d. 

If not- Is box 2 or 3 marked in item 45b AND 

the respondent is under 25 years old? -­

[]No - Skip to item 46a 

[]Yes - Ask item 45d 

45d. Did you take this class in the past year? 

~ ~E3No 

2[]Yes 

46a.What is the highest grade (or year) of regular
 school your FATHER completed?
 

~--"~ olr~7th grade or less 

o~r-18th grade 

o3[]9th-1 lth grades
 

o4 [] 12th grade
 

os[]College (did not complete)
 

o6F-ICompleted college (4+ years)
 

o71~Post graduate degree (M.A., Ph.D., M.D., J.D., etc.)
 

o8 [] Don’t know
 

b.What is the highest grade (or year) of regular

school your MOTHER completed? 

~-~-] o~r-!7th grade or less 

o2r~ 8th grade 

o3D9th-1 lth grades 

o~[] 12th grade
 

osl~College (did not complete)
 

o6F-]Completed college (4+ years)
 

o7E3 Post graduate degree (M.A., Ph.D., M.D., J.D., etc.)
 

o~1-3 Don’t know
 

Is this the LAST household member to be 

interviewed? 

[]No - Go back to the NCS-1 and interview the 

next eligible NCS household member 

[]Yes - END INTERVIEW 

Page 
Appendix B 

Additional Tables and Text 

on Media Participation 

Arts Participation via TV or VCR by Selected 

Arts Attendees 

Arts attendees are significantly more likely to watch the arts on TV or VCR 

than is the general public. There is a tendency for each arts group to be 

high in both attendance and media participation within their own art form. 

That is, opera attendees also tend to be high TV and VCR watchers of opera; 

jazz-goers tend to be high consumers of jazz on TV and VCR, and so on. 

Opera-goers tend to be the arts buffs in comparison with the other arts 

groups. In both 1982 and 1992, opera attendees were more likely to watch all 

the art forms on TV and VCR than were the other arts groups, except for jazz 

and ballet attendees, who had higher rates of media participation in their 

respective art forms. Among opera-goers, between 1982 and 1992 watching 

classical music, jazz, and arts programs on TV/VCR increased 1.0, 7.6, and 

6.4 percentage points, respectively. Watching the other arts decreased, especially plays and ballet, which dropped by 21 and 14.1 percentage points, 

respectively. 

The rank order of TV/VCR watching of various art forms has altered among 

opera-goers between 1982 and 1992. Watching classical music programs has 

remained first (66.2 percent and 67.2 percent). In 1982 plays were second (64.7 

percent), followed by ballet (56.5 percent); jazz was last (36 percent). In 1992, 

watching programs on artists/art museums was second (57.5 percent), and ballet 

was last (42.4 percent). 

Among musical theater patrons, between 1982 and 1992 watching performances of classical music, jazz, and programs on artists/art museums increased by 

3.6, 8.6, and 15.9 percentage points, respectively. Watching musicals and plays 

on TV/VCR decreased significantly, by 6.5 and 15.1 percentage points, respectively. The rank order of preferred art forms on TV/VCR among musical theater 

attendees changed between 1982 and 1992. In 1982 their first choice was 

watching plays (50.8 percent). In 1992, it was watching programs on artists/art 

museums (55.1 percent). For both years, second choice was watching classical 

music programs, and least favored was watching opera. 
86 I American Participation in Opera and Musical Theater--1992 

TABLE B-1. Arts Participation via TV or VCR by Selected Arts 

Attendees, 1982 and 1992 (%) 

Selected Arts Attendees 

U.S. 

Adult Musical Classical Other Art 

Population Opera Theater Music Jazz Plays Ballet Dance* Museums 

Types of Arts on 

TV or VCRt 

Opera 1982 12.0 54.7 23.8 35.1 19.7 26.8 29.0 -­ 25.8 

1992 12.1 48.2 24.7 31.3 23.3 26.7 34.1 26.7 24.5 

Musicals 1982 20.3 49.5 43.8 49.1 34.8 42.3 44.5 -­ 39.4 

1992 16.9 48.2 37.3 39.3 32.0 37.1 40.1 35.1 32.7 

Classical 1982 24.7 66.2 46.4 62.1 41.4 48.4 59.2 -­ 48.8 

music 1992 26.3 67.2 50.0 64.8 47.8 50.5 58.3 50.0 49.7 

Jazz 1982 18.1 36.0 30.7 37.6 51.1 31.5 38.7 -­ 33.1 

1992 21.9 43.6 39.3 46.5 60.4 40.3 41.9 45.2 41.0 

Plays 1982 25.9 64.7 50.8 56.4 46.6 57.4 60.9 -­ 50.9 

1992 18.1 43.7 35.7 39.5 35.5 42.0 38.0 38.0 34.5 

Ballet! 1982 16.3 56.5 34.1 46.6 36.0 37.7 57.0 -­ 36.5 

Dance 1992 19.6 42.4 35.8 42.3 36.8 35.5 53.0 49.2 35.9 

Artists/ 1982 22.8 51.1 39.2 50.1 42.7 40.4 46.8 -­ 47.2 

Museums 1992 32.2 57.5 55.1 62.3 59.4 55.4 58.7 60.5 59.7 

*"Other dance" was not a category in 1982.
 

~"VCR" was not included in 1982. Although VCRs existed, they were not in
 

widespread use and the number of videotape titles was quite limited.
 

Viewership has remained high over the years among arts attendees, especially 

opera-goers. Changes in preferences between art forms may be a function of 

shifting tastes and/or the availability of arts television programs and VCRs. 

Arts Participation via Tapes/Records/CDs 

Among Selected Arts Attendees 

Arts attendees are more likely to listen to jazz, musicals, opera, and classical 

music on tapes/records/CDs than is the general population. Among the general 

population, changes in listening patterns between 1982 and 1992 were 

negligible. 
Appendix B -- Additional Tables and Text I 87 

TABLE B-2. Arts Participation via Tapes/Records/CDs by
 

Selected Arts Attendees, 1982 and 1992 (%)
 

Selected Arts Attendees 

U.S. 

Adult Musical Classical Other Art 

Population Opera Theater Music Jazz Plays Ballet Dance* Museums 

Types of Arts on Tapes/
 

Records/CDs~
 

Opera	 1982 7.4 45.2 16.0 25.3 11.6 19.7 28.9 - 1 7.0
 

1992 6.9 41.8 1 7.0 23.6 15.5 17.6 23.5 1 7.1 16.2
 

Musicals	 1982 8.4 38.4 22.9 29.7 18.2 24.7 35.5 - 23.2
 

1992 5.7 24.3 17.9 19.4 16.0 18.1 19.6 15.5 14.8
 

Classical 1982 22.1 62.9 43.7 65.6 46.0 49.9 67.2 - 50.6
 

music 1992 23.8 63.1 49.4 63.2 50.0 51.3 63.8 49.3 49.2
 

Jazz	 1982 20.2 27.4 33.2 38.1 65.5 40.0 48.0 - 37.4
 

1992 20.6 47.9 39.5 45.4 67.9 42.9 48.7 44.5 41.0
 

*"Other dance" was not a category in 1982. 

~The media products for listening to the arts have changed during the 10-year period.
 

In 1982 records and cassette tapes were the mass media products available. In 1992,
 

tapes and CDs were the products available.
 

Opera attendees are tape/record/CD listeners. In both 1982 and 1992, 

opera attendees were significantly more likely than their selected arts counterparts to listen to operas and musicals on tapes and CDs. In 1982 and 1992, 

classical music was their preference (62.9 percent and 63.1 percent). Jazz was 

the least listened to art form in 1982 (27.4 percent), and musicals had that 

distinction in 1992 (24.3 percent). Between 1982 and 1992, fewer listened to 

opera and musicals on tapes/records/CDs (down 3.4 and 14.1 percentage 

points, respectively), while more listened to jazz (up 20.4 percentage points). 

Musical theater patrons in both 1982 and 1992 were less likely in general 

to be tape and CD listeners than were other selected arts attendees. In both 

years, they were least likely to listen to opera (16 percent and 17 percent) and 

most likely to listen to classical music on tapes/records/CDs (43.7 percent and 

49.4 percent). Between 1982 and 1992, even among musical theater attendees, 

listening to musicals decreased 5 percentage points, while listening to opera, 

classical music, and jazz increased 1.0, 5.7, and 6.3 percentage points, 

respectively. 

Unlike the trend in TV/VCR watching, musical theater and opera attendees 

in this 10-year period listened less to their respective art form on tapes/ 
88 I American Participation in Opera and Musical Theater--1992 

records/CDs. There was a significant drop in listening to musicals on tapes/records/CDs for all selected arts attendees. One wonders whether this pattern 

reflects a preference for other types of media participation, such as TV/VCR 

watching, or a decrease in recording products. 

Consistently, listening to musicals on tapes/records/CDs has decreased 

among the general population and among musical and opera attendees, while 

listening to jazz has increased significantly. Since tapes, records, and CDs are 

purchased by individuals according to their tastes, we must assume that this 

pattern reflects a shift in consumer preferences, not availability. 

Arts Participation via Radio by Selected Arts Attendees 

Arts attendees are more likely to listen to the arts on radio than is the general 

population. Between 1982 and 1992 among the general population, radio 

listening increased for opera, classical music, and jazz (1.6, 10.9, and 10.1 

percentage points, respectively) and stayed about the same for musicals and plays 

(decreasing .8 and 1.0 percentage point, respectively). 

Opera attendees both in 1982 and 1992 were most likely to listen to classical 

music on the radio (58.8 percent and 71.5 percent), and least likely to listen to 

plays (17.9 percent and 7.8 percent). The supply of plays is limited on the radio. 

Between 1982 and 1992 radio listening to classical music and jazz increased 

significantly among opera attendees (12.7 and 18.3 percentage points, respectively), while listening to opera, musicals, and plays decreased (3.8, 7.5, and 

10.1 percentage points, respectively). 

Musical theater patrons, in both 1982 and 1992, were least likely to be radio 

listeners of all five art forms. In this sense they were the closest to the general 

population of all the arts groups, though their radio listening rates were 

significantly higher than those of the general population. They were most likely 

to listen to classical music on the radio (38.1 percent and 58.2 percent) and least 

likely to listen to plays (7.3 percent and 5.3 percent). Between 1982 and 1992, 

listening to opera, classical music, and jazz on the radio increased (3.6, 20.1, 

and 21.5 percentage points, respectively), while the decrease in radio listening 

to musicals and plays was negligible. 

In the 10-year period, listening to classical music and jazz on the radio 

increased significantly among all the arts groups; these are the preferred arts for 

radio listening. In general, listening to opera showed a negligible rise, while 

listening to plays and musicals on the radio was down for all the arts groups. 

The fact that this pattern holds for all the arts attendees suggests it is probably 

a result of radio programming. 
Appendix B-- Additional Tables and Text I 89 

TABLE B-3. Arts Participation via Radio by Selected Arts
 

Attendees, 1982 and 1992 (%)
 

Selected Arts Attendees 

U.S. 

Adult Musical Classical Other Art 

Population Opera Theater Music Jazz Plays Ballet Dance* Museums 

Types of Arts on Radio 

Opera	 1982 7.1 46.1 15.5 24.0 16.6 19.7 23.7 -- 17.1
 

1992 8.7 42.3 19.1 28.9 18.7 20.6 26.1 18.6 18.7
 

Musicals	 1982 4.3 23.2 8.6 14.9 7.8 11.9 13.9 -- 12.0
 

1992 3.5 15.7 8.4 10.4 7.8 9.1 12.1 9.8 7.9
 

Classical 1982 19.9 58.8 38.1 55.7 41.3 44.6 52.0 -- 44.0
 

music 1992 30.8 71.5 58.2 73.4 58.7 58.8 69.9 59.7 58.7
 

Jazz	 1982 18.1 35.4 27.8 33.4 58.1 33.4 35.6 -- 32.5
 

1992 28.2 53.7 49.3 54.8 75.7 51.7 56.5 53~8 51.1
 

Plays	 1982 3.8 17.9 7.3 10.8 9.8 10.6 13.5 -- 9.4
 

1992 2.8 7.8 5.3 31.8 6.9 7.2 8.0 8.4 6.5
 

*"Other dance" was not a category in 1982. 

Demographic Characteristics of Those Who Watch/Listen 

to Opera and Musicals via Media 

Table B-4 shows some subtle differences among the types of media preferred 

for opera and musical theater. Those with higher education are more likely to 

listen to opera and musical theater on the radio and on recordings than watch 

it on TV/VCRs. The same is true for higher-income listeners of opera, but not 

of musicals/operettas. 
90 I American Participation in Opera and Musical Theater--1992 

TABLE B-4.	 Demographic Characteristics of Opera and 

Operetta/Musical Theater Media Participants, 

1992 (%) 

Watch/

Watch/ Listen to Listen 

Listen Listen to Listen Watch Listen Operetta/ to 

Watch to Opera to Operetta/ to Musicals Operetta/ 

U.S. Opera Opera on Opera Musicals Operetta/ on Musicals 

Adult on on Tapes/ on Any on TV/ Musicals Tapes/ on Any 

Population TV/VCR Radio CDs Medium VCR on Ratio CDs Medium 

U.S. Adult Population 12.1 8.7 6.9 18.1 16.9 3.5 5.7 20.6 

Of the percentage of the adult U.S. population that watched/listened to various arts (shown 

above), the breakdown according to demographic factors is shown below. For example, of the 

12.1% of the population that watched opera on TV or VCR, 44.4% are male and 55.6% are 

female. 

Gender 

Male 47.9 44.4 46.6 45.3 45.3 43.1 46.3 44.8 44.1
 

Female 52.1 55.6 53.4 54.7 54.7 56.9 53.7 55.2 55.9
 

Race 

White 77.5 78.4 83.5 83.8 80.9 82.2 79.1 84.2 82.6 

Black 11.2 10.2 7.6 5.9 9.2 9.2 7.6 5.8 8.5 

Native American 0.5 0.7 0.3 0.2 0.5 0.8 0.4 0.3 0.7 

Asian 2.6 2.9 2.5 4.3 2.7 2.5 4.3 4.2 2.6 

Hispanic 8.3 7.8 6.1 5.8 6.8 5.3 8.6 5.6 5.5 

Age 

18-24 13.0 7.0 5.4 8.1 7.3 8.2 8.5 11.5 9.5 

25-34 22.8 15.2 14.4 15.9 16.1 18.4 14.2 18.3 18.4 

35-44 21.4 20.0 19.8 21.1 19.9 22.1 20.4 24.8 21.9 

45-54 14.9 19.9 19.8 20.4 19.0 17.1 18.7 20.6 17.4 

55-64 11.4 16.1 18.8 17.4 16.5 14.8 15.9 12.9 14.3 

65-74 9.9 12.6 14.8 12.5 13.2 12.1 14.8 9.1 11.9 

75+ 6.6 9.3 7.0 4.6 8.1 7.3 7.5 2.8 6.6 

Education 

0-some high school 17.6 8.1 7.0 5.5 7.8 7.5 8.8 5.0 7.3 

High school grad 37.3 24.7 22.7 20.2 25.8 28.7 22.0 17.6 27.7 

Some college 21.0 27.0 23.1 25.6 25.7 25.7 22.2 23.8 24.8 

College grad 14.0 17.9 19.9 22.6 18.8 20.0 25.0 24.9 20.5 

Postgrad 9.7 22.3 27.3 26.1 22.0 18.1 22.0 28.8 19.7 

Marital status 

Married 58.8 60.0 62.8 62.1 60.5 60.7 59.1 59.0 60.2 

Widowed 7.2 8.8 7.4 5.1 8.4 8.1 7.5 2.9 7.4 

Divorced 8.7 9.3 8.9 8.9 9.2 8.9 9.1 8.5 8.9 

Separated 2.9 2.3 2.4 2.5 2.5 2.2 1.7 1.1 2.1 

Never married 22.3 19.6 18.5 21.4 19.5 20.0 22.6 28.6 21.4 

Place of residence 

Central city/SMSA 32.6 37.5 37.1 37.0 36.9 33.6 35.0 38.6 34.7 

Suburbs/SMSA 45.0 46.6 47.6 49.1 47.1 46.8 49.6 47.6 46.6 

Ru ral/non-SMSA 22.4 15.8 15.2 13.9 16.0 19.5 15.4 13.8 18.7 
Appendix B-- Additional Tables and Text I 91 

TABLE B-4. Demographic Characteristics of Opera and 

Operetta/Musical Theater Media Participants, 

1992 (%) (Continued) 

Watch/ 

Watch/ Listen to Listen 

Listen Listen to Listen Watch Listen Operetta/ to Watch to Opera to Operetta/ to Musicals Operetta/ 

U.S. Opera Opera on Opera Musicals Operetta/ on Musicals 

Adult on on Tapes/ on Any on TV/ Musicals Tapes/ on Any 

Population TV/VCR Radio CDs Medium VCR on Ratio CDs Medium 

Income* 

$0-$14,999 25.2 18.4 15.8 12.9 17.7 17.7 19.2 13.6 17.5 

$15,000-$24,999 19.3 16.8 15.1 12.9 17.2 t7.9 17.0 14.2 17.7 

$25,000-$49,999 36.6 37.9 39.1 40.1 37.2 39.1 38.0 35.0 38.0 

$50,000-$74,999 11.9 14.5 15.3 17.3 15.2 14.8 12.9 20.6 15.4 

$75,000+ 7.0 12.4 14.7 16.9 12.7 10.5 13.0 16.6 11.4 

Note: Not all percentages add up to 100.0% due to rounding. 

*About 8.4% of those in the survey did not answer the income question; therefore caution should 

be used with these figures. 
Appendix C 

Additional Tables on Personal Arts 

Participation and Lessons/Classes 

I

n the section of questions on personal or amateur participation, the 1982 and 

1992 questionnaires differed markedly. (The 1982 questionnaire is reproduced in Arts Participation in America 1982-1992, Research Division Report 

#27, prepared by Jack Faucett Associates, compiled by John P. Robinson, 

National Endowment for the Arts, 1993; the 1992 questionnaire appears in 

Appendix A of this monograph.) The five questions that were asked in 1982 

about creating types of visual arts and doing creative writing were repeated in 

1992. In the performing arts the questions included only activities that had a 

public performance or rehearsal component. 

92 
 

 

 

 

Appendix C-- Additional Tables I 93 

TABLE C-1. Amateur Arts Participation by Attendance at
 

Selected Arts Activities, 1982 (%)
 

Selected Arts Attendees 

U.S. Adult Musical Classical Art 

Population Opera Theater Music Jazz Plays Ballet Museums 

Create... 

pottery/ceramics/ 

jewelry/leather/ 

metal work 12.3 21.4 16.7 19.6 19.5 17.7 18.4 21.5 

weaving/ 

crocheting/ 

quilting/ 

needlepoint/ 

sewing 31.9 47.3 42.0 46.0 37.6 39.9 52.9 42.5 

photographs/ 

movies/ 

videotapes 10.5 14.8 18.4 20.0 19.8 19.0 20.9 22.7 

painting/ 

drawing/ 

sculpture/ 

printmaking 9.9 17.9 14.8 19.2 22.3 17.5 21.7 21.7 

creative writing 

(stories/poems/ 

plays) 6.5 13.8 12.5 17.4 22.3 17.6 23.6 15.9 

Note: Amateur participation has no rehearsal, performance, or public display 

component. 
 

 

 

94 I American Participation in Opera and Musical Theater--1992 

TABLE C-2.	 Amateur-Professional Arts Participation by 

Attendance at Selected Arts Activities, 1982 (%) 

Selected Arts Attendees 

U.S. Adult Musical Classical Art 

Population Opera Theater Music Jazz Plays Ballet Museums 

Performance/ 

rehearsal of... 

a musical 

instrument 3.9 6.1 5.5 8.5 8.5 6.5 7.0 5.8 

jazz music 0.8 2.5 1.5 2.6 4.0 1.8 1.8 1.6 

classical music 0.9 4.5 2.4 4.4 3.6 2.6 3.9 2.1 

acting/singing/ 

dancing 4.6 11.8 8.6 11.9 10.8 10.3 12.3 8.3 

opera 0.1 1.4 0.2 0.5 0.2 0.3 0.3 0.3 

operetta/ 

musicals 0.9 3.9 2.5 3.6 2.1 2.8 2.7 1.8 

a play 0.8 3.0 2.3 2.2 2.7 2.9 3.9 1.8 

ballet 0.1 0.4 0.3 0.4 0.5 0.2 1.0 0.3 

Tech work (lights/sets/ 

costumes/promotion) in ... 

opera/musical/
 

play/bal let 2.8 6.8 8.4 10.5 8.4 10.8 10.0 6.9
 

jazz/classical
 

music 1.0 4.0 2.2 4.3 5.6 2.7 4.8 2.1
 

Note: Amateur-professional participation includes arehearsal, performance, or public
 

display component.
 
 

Appendix C--Additional Tables I 95 

TABLE C-3. Arts Lessons/Classes by Attendance at Selected 

Arts Activities, 1982 and 1992 (%) 

U.So 

Adult Musical Classical Other Art 

Population Opera Theater Music Jazz Plays Ballet Dance*Museums 

Classes/lessons ever taken in ... 

-1982 

music (either voice 

training or an 

instrument) 47.1 65.5 67.0 72.6 71.2 69.8 71.2 * 70.2 

acting or theater 9.2 20.2 20.8 21.5 22.4 22.1 26.3 * 20.5 

ballet 7.2 17.6 16.2 17.3 19.2 17.8 41.5 * 16.4 

visual arts (sculpture, 

painting, print making, 

photography, film 

making, etc.) 24.0 43.1 41.2 45.9 50.4 44.2 53.5 

creative writing 18.0 37.1 35.1 38.1 42.9 40.7 45.0 

art appreciation or 

art history 19.5 47.7 37.8 42.8 41.0 46.0 48.1 * 43.6 

music appreciation 20.5 43.3 40.0 43.6 41.5 42.9 48.2 * 41.7 

any type of art 58.4 81.6 81.3 85.5 85.1 84.8 88.3 * 86.9 

.1992. 

music (either voice
 

training or an
 

instrument) 39.6 65.3 60.8 66.3 61.1 60.6 70.3 65.4 60.8
 

acting or theater 7.4 19.5 15.4 18.5 18.1 18.8 19.8 17.1 16.3
 

ballet 7.0 13.3 14.5 13.9 12.1 13.6 23.8 15.9 12.9
 

other dance (tap,
 

modern, folk, etc.) 15.8 28.6 30.6 33.1 30.0 29.7 38.3 39.4 27.6
 

visual arts (sculpture,
 

painting, print making,
 

photography, film
 

making, etc.) 17.6 30.3 32.5 34.8 35.9 32.9 35.5 38.7 35.1
 

creative writing 15.6 33.4 30.8 31.7 34.8 31.8 35.8 30.5 32.8 

art appreciation or 

art history 22.9 49.6 38.7 41.8 40.9 42.6 44.2 41.3 42.2 

music appreciation 18.1 37.6 33.4 42.4 40.4 37.5 39.8 34.2 34.7 

any type of art 57.4 86.6 82.2 85.2 84.0 84.2 88.9 86.5 84.0 

*"Other dance" was not included in 1982 survey. 
Appendix D 

Methodology and Measuring 

Sampling Error 

The following is excerpted (with minor changes to make it more applicable 

to opera and musical theater) from Appendices F and G of Arts Participation 

in America 1982-1992, prepared by Jack Faucett Associates, compiled by John 

P. Robinson, Research Division Report #27, National Endowment for the Arts, 

Washington, DC, October 1993. 

Survey Methodology 

Respondents in the survey were part of a larger continuously rotating panel 

of respondents who were interviewed every six months over a three-year period. 

These individuals lived in households selected by the U.S. Census Bureau to be 

randomly representative of the total U.S. adult population 18 years of age and 

older. Census Bureau population counts were used to draw the sample in such 

a way that all individuals living in households in the United States had a known 

and equal chance of selection. The sample frame was the same as that used in 

the 1982 survey. 

All individuals aged 18 and over in these households were eligible to be 

included in the survey. Less than 20 percent of all eligible individuals in these 

selected households could not be interviewed. The final data were weighted 

slightly to ensure that the final sample was completely representative of the 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 telephone interviews. The interview took about eight minutes for the 

first six months of 1992 (i.e., January through June) and about twice that long 

in the second six months. 

Each month’s interview began with the survey’s "core" questions, which 

referred to general arts participation during the previous 12 months. A second 

set of items about mass media usage then completed the interview. During the 

96 
Appendix D-- Methodology and Measuring Sampling Error I 97 

second six months, sets of questions were added about personal arts participation, leisure activities, lessons/classes in the arts, and items about arts attitudes. 

The completed questionnaires were returned to the Census Bureau in 

Suitland, MD, where they were edited for final keying onto a computer tape. 

These coded survey answers were then merged with the coded data on each 

respondent’s background (e.g., age, education, race) obtained in the panel part 

of the Census survey. These background data were then weighted to reflect U.S. 

population characteristics and projected to the total U.S. adult population. 

Measuring Sampling Error 

Sample 

Since survey estimates are based on a sample, they may differ somewhat 

from the figures that would have been obtained if a complete census had been 

taken using the same schedules, instructions, and enumerators. As in any survey 

work, the results are also subject to errors of response and of reporting, as well 

as being subject to sampling variability. 

The estimates of standard error produced from the sample data are primarily 

a measure of sampling variability (that is, of the variations that occur by chance 

because a sample rather than the whole of the population is surveyed). The 

estimates of standard error also partially measure the effect of response and 

enumeration errors, but they do not measure, as such, any systematic biases in 

the data. 

Each estimate made from the survey process has its own variance and 

resulting standard error. It is, however, impractical to compute an estimate of 

the variance for every sample estimate. Therefore, variances are estimated for a 

small subset of the sample estimates. These variances are then generalized to be 

applicable to all estimates from each of the various aggregate estimates (e.g., 

percentage attending opera performances, percentage watching musical theater 

performances on television, percentage taking music lessons). 

The total error of an estimate involves a component, in addition to the 

variability due to sampling, which is called non-sampling error. This component 

is called the bias of the estimate. The bias is the difference between the average 

of all possible samples (this average is conceptual since only one sample is used) 

and the attempted value to be estimated. 

This is a result of: 

a.	 The types of estimates being produced (e.g., ratio estimate). These are 

known to be biased but are preferable to certain other unbiased estimates 
 

98 I American Participation in Opera and Musical Theater--1992 

because of the amount of reduction they bring to the variance of the 

estimates. 

bo Systematic errors in response. These can result from recall problems, 

interviewer effect, questionnaire wording, etc. 

Co Processing errors. These can result from duplication or omission of units in 

the sampling frame, methods of adjusting for non-responses, coding, classification, and editing errors, etc. 

The amount of bias cannot be directly observed and estimated. It is known 

to exist, though, and during the survey process, efforts are made through design 

and control operations to limit its effect. 

Variance and Sample Errors for the SPPA 

With respect to the sampling errors for the SPPA portion of the sample, 

Table D-1 shows first the theoretical sampling error for this size sample and 

then the actual observed variation for a variety of SPPA questions. As shown in 

this table, 3.3 percent of the SPPA ’92 respondents said they attended a live 

opera performance at least once during 1992, and 17.4 percent said they 

attended a live musical theater performance. Using the theoretical mathematical 

formula to compute sampling errors, one standard error for this sample size 

(12,736) is 

,~/0.033 * .967 (opera) = .0016 or 0.16% ~ 12,736 

,826

(musical theater) A/~/0.174 12,736 = 00.33 or 0.33% 

The population bounds for these questions for 95 percent confidence is 

obtained by roughly doubling this interval of 0.16 percent for opera, or about 

0.32 percent. This means that the 95 percent confidence level falls 0.32 percent 

above and below the average estimate. For musical theater the interval is 0.33 

percent, and the 95 percent confidence level falls approximately 0.66 percent 

above and below the average estimate. 

But that is the theoretical proportion for a completely random sample, and
 

SPPA respondents were chosen by clustered random sample. As noted above,
 

that means that clusters or segments of households (about four) in a neighbor­
Appendix D -- Methodology and Measuring Sampling Error I 99 

hood were chosen. Since people in neighborhoods may tend to share certain 

characteristics (such as going to jazz or classical music performances), that raises 

the possibility that the effective after-sample size is lower because of this 

clustering due to the homogeneity of people who live in the same area. 

Further clustering was introduced in the SPPA by interviewing more than 

one member in a household, since persons who live together also share and 

determine each other’s activities to a greater extent than do people who share 

space in the same neighborhood. Methods for measuring the effect of this 

clustering (described as the design factor) are: (1) to treat the total sample as a 

series of random samples of half size of the total sample; and (2) to observe how 

much larger the sampling variance for this half-sample is than the theoretical 

figure described here. In other words, the total sample of 12,736 would be 

randomly divided into half-samples of about 6,360 respondents each, and the 

variations in estimates for these half-samples would be compared to the variation 

expected theoretically. 

This was done [more discussion exists in Robinson’s Appendix G], and the 

observed standard error is given in the table below .... The design factor for 

the questions shown in the table have ratios that vary around 2.00; the overall 

average design factor is 2.18, which is more than double the estimates from 

simple random sampling. This design factor needs to be applied to the estimated 

errors from simple random sampling. 
100 I American Participation in Opera and Musical Theater--1992 

Table D-1. Sampling Error Calculations: 1992 SPPA Data 

Theoretical 

1 Design Factor = (Design Effect) * 1/2 

Benchmark 

Activities 

(n--12,736) Rate: 

Sampling 

Error 

(n=l 2,736) 

Observed 

SE 

(n--6,368) 

Design 

Factor1 (t)2 

Jazz .106 .0027 .0053 1.96 (1.4) 

Classical .125 .0029 .0073 2.52 (1.6) 

Opera .033 .0016 .0032 2.00 (0.6) 

Musicals .174 .0033 .0090 2.73 (2.2) 

Plays .135 .0030 .0073 2.43 (1.7) 

Ballet .047 .0019 .0043 2.26 (0.9) 

Art museums .267 .0039 .0112 2.77 (2.4) 

Other Arts Activities 

Read books .609 .0043 .0090 2.09 (na) 

Read literature .542 .0044 .0091 2.07 (2.411 

Historic sites .407 .0043 .0111 2.58 (4.1) 

Arts/crafts fairs .345 .0042 .0104 2.48 (4.4) 

TV Jazz .209 .0036 .0057 1.58 (1.9) 

Other Activities (n=5940) (n=2970) 

Movies .582 .0065 .0108 1.66 (2.8) 

Sports events .357 .0062 .0083 1.34 (2.9) 

Like classical .342 .0063 .0125 1.99 (2.4) 

Average 2.18 

2Difference necessary for the 1982-1992 t-value to be statistically significant at the 

.05 level equals 

1.96 * "~(0SE82 * 2) + (0SE92 * 2) 

where OSE is the observed standard error. 
Notes
 

1. A list of the other 14 secondary analyses appears at the end of this monograph. 

2. The 1992 survey questionnaire appears in Appendix A. 

3. The 1982 survey had seven selected arts; it did not include "other dance." 

4. Throughout this monograph percentages are shown with one decimal place to 

minimize the frustration with percentages that do not add up to 100. This may 

imply more accuracy in the numbers shown than is warranted. Many of the 

categories in the questionnaire were activities in which only 1 or 2 percent of the 

population participated. Furthermore, some questions were asked of only half the 

sample, such as those related to leisure activities, arts classes/lessons, and personal 

arts participation. Therefore, in a number of cases, when looking at a portion of a 

category, the numbers get so small as to have increasingly questionable reliability. 

Even when the percentages are relatively large, it is wise always to remember that 

there is possible sampling error and to use any figure as an approximation. See 

Appendix D on methodology and sampling error. 

5. For every $100.00 spent on goods and services in 1982, $145.40 would be needed 

to buy the same amount in 1992. To be equivalent, an income of $50,000 in 1982 

would be $72,700 in 1992. An income of $25,000 in 1982 would equal $36,350 

in 1992. 

6. The 1992 questionnaire first asked whether one personally participated (e.g., 

"During the last 12 months, did you sing any music from an opera?"). This would 

include everyone from those who sang for pleasure to those who sang professionally. 

The followup question to "yes" then asked, "Did you sing in a public performance 

or rehearse for a public performance?" This would include both paid and unpaid 

performances, professional or nonprofessional. The amateur-professional category 

is a subcategory of amateur arts participation. 

7. Some data on personal arts participation were collected in 1982. However, comparisons between 1982 and 1992 amateur arts participation are not informative, 

as the 1982 questionnaire had 5 choices for amateur participation, while the 1992 

survey had 14 choices, only 5 of which were comparable. The 1982 questionnaire 

had 10 amateur-professional activities, while the 1992 survey had 14 choices. Only 

6 activities are comparable. See Appendix C for 1982 data. 

8. Percentages and rank order would vary in any survey depending on the number 

and types of leisure activities delineated in the survey questionnaire. For instance, 

the SPPA survey failed to ask about media watching/listening of nonartistic 

programs. Surely, television watching of programs such as sitcoms, sports, news, 

and movies would rank very high. Regardless of the data limitations, the arts, when 

compared with other activities, rank as an extremely important part of the American 

culture. 

9. The desire to attend more selected arts is a partial measure of the desire to be more 

involved in the arts. Individuals may desire to buy more art CDs or take piano 

101 
102 I American Participation in Opera and Musical Theater--1992 

lessons. Neither of these dimensions was included in the SPPA surveys. Thus, the 

SPPA results underestimate the desire to be involved in the arts. 

10. Percentage calculated by subtracting "none of the above" (28.6%) from 100%. 

11. Information received from OPERA America, 777 14th Street NW, Washington, 

DC 20005. We wish to express our appreciation to Marc Scorco, Chief Executive 

Officer, OPERA America. 

12. There are two ways to calculate total attendance from the SPPA data. The simpler 

way is to find the average number ofattendances per attendee (for opera = 1.694) 

and multiply by the number of those who said they attended (6.087 million). The 

total is 10.311 million. For opera, this method creates the same figure as adding 

up the weighted responses of number of performances attended (10.311 million). 

13. The League of American Theatres and Producers, Inc., Broadway Theatre and the 

Petforming Arts: Their Importance in American Life, 226 West 47th Street, NY, NY 

10036, March 28, 1992. We wish to express our appreciation to George Wachtel, 

Director of Research at the League. 

14. Ibid. 

15. Ibid. League estimates based on Variety data. 

16. Ibid. Theatre Communications Group, based on a survey of 184 out of 334 

member theaters. 

17. Ibid. National Alliance of Musical Theatres estimate based on member theater 

activity. 

18. Ibid. American Dinner Theatre Institute and National Dinner Theatre Association. 

19. Sixty-seven percent of the total attendance minus 5 million in attendance at 

Regional Musical Theatres, which we are assuming produce musicals exclusively, 

is 31,265,682. Adding back 5 million in attendance at Regional Musical Theatres, 

we get 36,265,682. 

20. There are two ways to calculate total attendance from the SPPA data. The simpler 

way is to find the average number ofattendances per attendee (for musicals = 2.276) 

and multiply by the number of those who said they attended (32.337 million). The 

total is 73.60 million. This method creates a higher figure than adding up the 

weighted data from the number of performances reported per respondent and 

checking for anomalies, such as those two respondents who said they attended 220 

times and 602 times last year. A more appropriate figure calculated this way is 

65.250 million attendance. 

21.	 League of American Theatres and Producers, Inc., Profile of the Broadway Audience, 

1992. 
About the Authors
 

J

oni Maya Cherbo, Ph.D., is a sociologist who specializes in the arts. She has 

taught at a number of universities and has written extensively on various topics 

pertaining to the arts. Her publications include (coauthor) Arts Education 

Beyondthe Classroom (American Council for the Arts, 1988) and "A Department 

of Cultural Resources: A Perspective on the Arts" (Journal of Arts Management 

and Law, Spring 1992). Dr. Cherbo has been a consultant for and has served 

on the boards of arts institutions in New York City. Her abiding interest is 

advancing the state of culture in the United States. 

Monnie Peters is a management consultant and researcher for the nonprofit 

sector, specializing in arts and culture. Her areas of expertise include long-range 

planning and feasibility studies, financial consulting, and research and data 

collection projects. She has organized and chaired conferences and managed 

research projects for such organizations as the National Endowment for the Arts, 

the American Council for the Arts, and the American Association of Museums. 

Her publications include Arts Organizations and the 1987 Census of Service 

Industries, a report for the Research Division of the NEA. 

103
 
Other Reports on the 1992 SPPA 

The following publications report on various aspects of the 1992 Survey of 

Public Participation in the Arts. Information regarding availability ma~ be 

obtained by writing to the National Endowment for the Arts, Research Division, 

1100 Pennsylvania Avenue, N.W., Washington, DC, 20506. 

Age Factors in Arts Participation, Richard A. Peterson and Darren E. Sherkat 

American Participation in Dance, Jack Lemon/Jack Faucett Associates 

American Participation in Theater, Chris Shrum/AMS Planning and Research 

Americans" Personal Participation in the Arts, Monnie Peters and Joni Maya 

Cherbo 

Arts Participation and Race/Ethnicity, Jeffrey Love and Bramble C. Klipple 

Arts Participation by the Baby Boomers, Judith Huggins Balfe and Rolf Meyersohn 

Cross-Over Patterns in Arts Participation, Richard J. Orend and Carol Keegan 

Effects of Education and Arts Education on Americans" Participation in the Arts, 

Louis Bergonzi and Julia Smith 

Hold the Funeral March: The State of Classical Music Appreciation in the U.S., 

Nicholas Zill 

Jazz in America: Who’s Listening?, Scott DeVeaux 

Patterns of Multiple Arts Participation, Jeffrey Love 

Reading in the 1990s: Turning a Page or Closing the Books?, Nicholas Zill 

Socialization in the Arts--1992, Richard J. Orend and Carol Keegan 

Tuning in and Turning On: Public Participation in the Arts via Media in the 

United States, Charles M. Gray 

104 
 

NATIONAL 

ENDOWMENT 

FOR~THE 

ISBN 0-929765-38-9
 

Seven Locks Press 

Carson, California 9