Arts Participation in America:
 

1982-1992
 

Prepared 

Jack Faucett Associates 

Compiled by: 

John P. Robinson
 

Professor of Sociology
 

University of Maryland
 

October 1993 

Research Division Report #27 

NATIONAL ENDOWMENT FOR THE ARTS 
Arts Participation in America:
 

1982-1992
 

Prepared by: 

Jack Faucett Associates 

Compiled by: 

John P. Robinson
 

Professor of Sociology
 

University of Maryland
 

October 1993 

Research Division Report #27 

NATIONAL ENDOWMENT FOR THE ARTS 
Library of Congress Cataloging-in-Publication Data 

Arts participation in America : 1982-1992 / Jack Faucett Associates : 

compiled by John P. Robinson.
 

129 p. 28 cm. -- (Research Division report : 27)
 

"November 1993."
 

1. Arts audiences-United States. 2. Arts surveys-United States. 

I. Robinson, John P. II. Jack Faucett Associates. [] Series: 

Research Division report (National Endowment for the Arts. Res~rch
 

Division) : 27
 

NX220.A78 1993
 

700’.973’09048--dc20
 93-31039 

C~ 
TABLE OF CONTENTS
 

Chapter 

EXECUTIVE SUMMARY ...........................................
 i 

Sponsorship and Conduct of the Survey .............................
i 

Principal Findings ............................................
 i 

I.	 Participation through Live Attendance .........................i
 

Live Audience Attendance in 1992 by Arts Activity ............... i
 

Differences between 1992 and 1982 Attendance Rates ..............
 ii 

Demographic Factors and 1992 Attendance Rates ................. iii
 

Differences Between 1992 and 1982 Demographic Correlates " iv
 

II.	 Participation through Broadcast and Recorded Media ............... iv
 

Participation Via Media in 1992 by Arts Activity ................. iv
 

Differences between 1992 and 1982 ........................... v
 

Demographic Correlates of Participation through Broadcast and Recorded
 

Media: 1992 and 1982 .................................... v
 

Ill.	 PaRicipation in the Arts through Personal Performance and
 

Creation vii ..............................................
 

Comparisons of the Different Types of Arts Participation ............ viii
 

Comparisons of Participation in the Arts with Participation in Other
 

Leisure Activities ....................................... viii
 

Attitudes towards the Arts ................................. ix
 

Summary ’
 ix 

FOREWORD ............................................ ... xi
 

Purpose .............................................. xi
 

History ...................... . .........................
 xi 

Data Collection .........................................
 xii 

Outline of the Questionnaire ......................... . .......
 xii 

Survey Methodology .....................................
 xiii 

Differences in Questions Asked ..............................
 xiii 

Using the Data in this Report ...............................
 xiv 

Data Tabulations and Projections ............................. xv
 

Organization of the Report ................................. xv
 
 

 

 

TABLE OF CONTENTS -- (Continued) 

Chapter 

CHAPTER I. ATTENDANCE AT LIVE ARTS PERFORMANCES/EVENTS .. 1

A. General Attendance ......................................	 1
 

1.	 1992 Attendance Levels .............................. 1
 

2. 1992 Frequencies of Attendance ........................3
 

3.. Trends in Attendance Levels: 1982-92 ....................4
 

B.	 Demographic Differences in Attendance Levels ...................7
 

1. Attendance Characteristics: ............................	 8
 

2. Audience Demographics for the Benchmark Arts Activities .....10
 

3. Trends in Arts Attendance by Demographic Factors: 1982-92 ....

19
 

CHAPTER II. ARTS PARTICIPATION THROUGH BROADCAST AND
 

RECORDED MEDIA ............................... 25
 

A.	 General Usage of Broadcast and Recorded Media Arts Programming ... 25
 

I. 	 1992 Arts Participation Levels Via Broadcast and Recorded
 

Media .......................................... 25
 

2.	 1992 Viewings of Arts Activities on Video ................ 27
 

3.	 Trends in the Usage of Media for Arts Content: 1982-1992 ..... 28
 

Bo Arts Media Audiences by Demographic Factors .................. 32
 

1. 	 1982 and 1992 Demographic Differences in Arts Media
 

Participation ...................................... 33
 

2.	 Readings of Poetry and Novels ......................... 34
 

CHAPTER III. PERSONAL PARTICIPATION IN THE ARTS ............
 35

A.	 Personal Performances and Arts/Crafts Activities ................. 35
 

1.	 1992 Personal Participation in the Arts ................... 35
 

2.	 1992 Demographic Differences in Personal Arts Participation ....37
 

3.	 Changes in Personal Participation in the Arts Across Time ...... 38
 

B.	 Art Classes and Lessons ................................... 40
 

Demographic Differences in Participation in Arts Classes ............ 41
 

ii 
 

 

TABLE OF CONTENTS -- (Continued) 

,.Chapter 

CHAPTER IV. COMPARISONS OF TYPES OF ARTS PARTICIPATION .... 42
 

A. Different Types of Arts Participation: 1992
 ..................... 42
 B. Participation in Other Leisure Activities 

1. " Comparison of Arts Participation to Participation in Other Leisure 

Activities :’’’." ...................................	 45
 

2.	 Demographic D~fferences in Participation in Other Leisure 

Activities 

CHAPTER V. ARTS ATrITUDES AND PREDISPOSITION TO THE ARTS 47
 

A. Interest in Increased Attendance ............................. 47
 Demographic Differences in Increased Interests in Arts Attendances ....
48 B.	 Music Preferences .......................................
 

Demographic Differences in Music Preferences ...................48
 

50
 C.	 Parental Education 

CHAPTER VI. RELATED RESEARCH............................ 52
 

Insights from 12 Local Arts Participation Surveys ...................... 52
 

CHAPTER VII.
 SUMMARY AND CONCLUSIONS ................... 54
 

A. Re iMajor sults 

..........................................	 54
  ̄ Attendance at Live Arts Performances/Displays .............
54 2. Media Audiences for Arts Programming ...................
 55 3.	 Personal Arts Participation ............................ 56
 4.	 Arts Attitudes Bo Conclusions 

APPENDIX ~: LIVE ATTENDANCE ITEMS 

APPENDIX B: MEDIA ATTENDANCE .ITEMS 

APPENDIX C: PERSONAL PARTICIPATION ITEMS 

APPENDIX D: OTHER LEISUR~ ACTIVITY ITEMS 

APPENDIX E: ARTS ATHTUDES ITEMS 

APPENDIX F: SURVEY METHODOLOGY 

APPENDIX G: MEASUREMENT OF SAMPLING ERRORS 

APPENDIX H: AREAS FOR ADDITIONAL RESEARCH 

o ̄o 

111
 
 

ii 

LIST OF TABLES
 

Table
 

TABLES IN EXECUTIVE SUMMARY:
 

I: 1992 LIVE ATTENDANCE LEVELS FOR VARIOUS ARTS ACTIVITIES . . .

Ill: 1992 PERSONAL ART PARTICIPATION LEVELS ...................


II: 1992 RATES OF ARTS PARTICIPATION VIA BROADCAST AND 

RECORDED MEDIA ........................................ v 

vii 

ix IV: PARTICIPATION IN LEISURE ACTIVITIES .......................


TABLES IN CHAPTERS: 

2 I.l: 1992 ATTENDANCE LEVELS FOR VARIOUS ARTS ACTIVITIES .......


3 1.2: 1992 FREQUENCIES OF ATTENDANCE ..........................
 5 1.3: 1992-82 DIFFERENCES IN ATTENDANCE RATES ...................


7 1.4: 1992-82 DIFFERENCES IN TOTAL NUMBERS OF ATTENDERS ........


1.5: 1992 ATTENDANCE RATES FOR ANY BENCHMARK ART ACTIVITY 9 BY DEMOGRAPHIC GROUP ...................................
 

CHANGES IN ATTENDANCERATESBY EDUCATION .......21
 1.6: 1982-1992 

CHANGES IN ATTENDANCERATESBY INCOME ..........21
 1.7: 1982-1992 

CHANGES IN ATTENDANCERATES BY AGE ............. 22
 1.8: 1982-1999 23 1.9: 1982-1992 COHORT DIFFERENCES IN ARTS ATTENDANCE TRENDS . . .

II.1: 1992 RATES OF ARTS PARTICIPATION VIA BROADCAST AND 

RECORDED MEDIA .........................................
 26

II.2: 1992 POPULATION ESTIMATES OF BROADCAST AND RECORDED 

MEDIA ARTS AUDIENCES ....................................
 27

II.3: 1992 ESTIMATED NUMBER OF VIEWINGS OF ARTS PROGRAMS 28 ON VIDEO .................................................
 

II.4: 1982-92 DIFFERENCES IN USAGE OF BROADCAST AND RECORDED 

MEDIA FOR ARTS RELATED CONTENT .........................
 29

iv 
L!.~I" OF TABLES - (Continued) 

Table 

II.5: 1982-92 PERCENTAGE CHANGES IN THE SIZES OF ARTS 

MEDIA AUDIENCES .........................................
 32

III.1: 1992 PERSONAL ARTS PARTICIPATION LEVELS ................... 36
 

III.2: CHANGES IN SELECTED PERSONAL ARTS PARTICIPATION RATES . . . 39
 

III.3: LIFETIME PARTICIPATION IN ARTS CLASSES/LESSONS ............ 40
 

43 IV.l: 1992 ARTS PARTICIPATION RATES BY TYPE OF PARTICIPATION .....

44 IV.2: PARTICIPATION IN LEISURE ACTIVITIES .........................


V.l:	 DESIRE TO ATTEND MORE ARTS PERFORMANCES ................ 47

V.2:	 MUSIC PREFERENCES ....................................... 49

V.3: HIGHEST EDUCATIONAL ATTAINMENT OF PARENTS ..............
 51
LIST OF FIGURES
 

FIGURES IN EXECUTIVE SUMMARY:
 

I:	 General Attendance Rates for Benchmark Arts Activities: 1982
 

to 1992 ............................................... iii
 

IIa: Arts Participation Through Television: 1982-1992 ......................vi
 

lib: Arts Participation Through Radio: 1982-1992 vi
 

IIc: Arts Participation Through Recordings: 1982-1992 .....................vi
 

FIGURE IN CHAPTERS: 

1 General Attendance Rates: 1982-1992 ..............................6
 

2 1992 Attendance at Jazz Performances .............................I 1
 

3 1992 Attendance at Classical Music Performances .....................12
 

4 1992 Attendance at Opera Performances ............................13
 

5 1992 Attendance at Musicals .................................... 14
 

6 1992 Attendance at Plays ...................................... 15
 

7 1992 Attendance at Ballet Performances ...........................16
 .

8 1992 Attendance at Art Museums ................................. 17
 

9 1992 Participation in Literature Reading ............................18
 

10 Differences in Attendance Rates by Gender ..........................19
 

11 Differences in Attendance Rates by Race .........................20
 ..

12 1982-92 Trends in Media Participation: Television ....................30
 .

13 1982-92 Trends in Media Participation: Radio ............: ........... 30
 

14 Arts Participation Through Recordings .............................31
 

vi 
EXECUTIVE SUMMARY 

Sponsorship and Conduct of the Survey 

This report describes the initial analysis of results from the 1992 nationwide Survey of Public 

Participation in the Arts (SPPA). The survey was funded by the National Endowment for the 

Arts and conducted by the U.S. Bureau of the Census. The data described in this report were 

collected in household surveys as part of a larger national survey which used revolving panels 

of approximately 1,000 adult (over age 18) Americans who were interviewed each month in 

1992. The total sample size was 12,736. About three-quarters of the interviews were 

conducted by telephone, and one quarter of the respondents were interviewed face-to-face in 

their homes. The response rate was above 80 percent. 

The interviews during the first six months of 1992 averaged about eight minutes and covered 

both attendance at live arts events and participation in the arts by means of broadcast and 

recorded media. The interviews during the second six months lasted 7-10 minutes longer and 

asked additional questions about personal arts participation, by performing or creating, as well 

as questions about arts attitudes and about participation in other leisure activities. 

Most of the questions in the 1992 SPPA had been asked in similar surveys in 1982 and 1985, 

and this report shows comparisons of these responses over the decade. New questions in the 

1992 SPPA concerned use of video cassette recordings (VCR), various dance forms other than 

ballet, and different types of popular music. In general, the 1992 questionnaire asked more 

varied and detailed questions about arts participation. 

Principal Findings 

I. Participation through Live Attendance 

Live Audience Attendance in 1992 by Arts Activity 

All SPPA’92 respondents were asked whether they had participated, by attendance, in each of 

11 arts activities during the previous 12 months. Table I shows the attendance rate, total 

audience, and total number of attendances in decreasing order of audience size. The 

respondents’ rates of attendance were multiplied by the U.S. adult population in mid-1992 

(185.8 million) to obtain the total audience size for each arts activity. The total number of 

attendances for each activity was estimated by multiplying the average number of attendances 

per respondent for each activity by the respective audience size. 
Arts:Activity (Percentage) 

Opera (B) 3.3 6.1 10.4 

Ballet (B) 4.7 8.7 14.8 

Other Dance 13.2 39.6 

Jazz (B) 10.6 19.7 57.1 

Classical Music (B) 12.5 23.2 60.3 

Plays (B) 13.5 25.1 60.2 

Musicals (B) 17.4 32.3 74.3 

Art Museums (B) 26.7 49.6 163.7 

Historic Parks 34.5 64.1 243.6 

Art/Craft Fairs (B) 40.7 75.6 204. l 

Readin$ Literature 54.0 100.3 NA 

Computed by multiplying the attendance rate by the U.S. adult population (185.8 million). 

NA Not applicable. 

B Benchmark activities. 

Differences between 1992 and 1982 Attendance Rates 

Figure I shows the changes between 1982 and 1992 in the seven arts activities established as 

"benchmark activities" in 1982. The largest change in attendance rates (1992 rate minus 1982 

rate) was an increase of 4.6 percentage points in attendance at art museums and a decrease of 

4.5 percentage points in attendance at historic parks. These changes in percentages of 

attendance were statistically significant and were equivalent to differences in audience sizes 

of more than 8 million adults in 1992. A non-significant increase of 1.6 percentage points for 

plays was offset by a decrease of 1.2 percentage points for musicals. Attendance rates for 

ballet increased from 4.2 percent to 4.7 percent, and attendance for opera increased from 3.0 

to 3.3 percent. Attendance at arts/crafts fairs increased by 1.7 percentage points. Reading 

literature (novels, short stories, poems, or plays) decreased by 2.9 percentage points, but the 

question in 1992 was different from the question in 1982. Table 1.3 in Chapter I presents the 

complete data for 1982, 1985, and 1992. 
GENERAL ATTENDANCE RATES 

FOR BENCHMARK ARTS ACTIVITIES: " 

1982 to 1992 

30 | 

25 [] 1982 

20 

15 

[] 1985 

 ̄ 1992 

"i 10 

5 

0 

Opera Ballet Jazz Classical 

Music 

Plays Musicals Art 

Museum 

Figure I 

Overall, more than 41 percent of American adults reported that, during the preceding year, they 

had attended at least one of the seven benchmark arts performances/events shown in Figure I. 

In 1982 these seven arts performances/events were established as benchmark activities, to be 

used for comparison in later surveys. In 1982, and again in 1985, this overall participation 

index in benchmark activities was 39 percent. 

Demographic Factors and 1992 Attendance Rates 

Variations in attendance rates by five demographic variables -- gender, race, age, education, 

and income -- were examined to identify major determinants of attendance. Attained level of 

education clearly was the strongest predictor of attendance at arts performances/events. As was 

the case in 1982 and 1985, the higher the level of education, the higher the attendance rate for 

arts activities. High income also was a strong predictor of higher attendance, but in large part 

due to its connection to education. Other differences among demographic groups include: 

Attendance by women was slightly higher than attendance by men. 

Attendance by middle-aged and younger adults was higher than attendance by 

older people. 

111 
Attendance by white respondents was higher than attendance by black 

respondents or other racial groups. 

Figures 2 through 9 in Chapter I illustrate these demographic differences in attendance at arts 

events. 

Differences Between 1992 and 1982 Demographic Correlates 

The conclusions concerning demographic differences in 1992 are much as they were in 1982. 

Most changes were small and did not form regular patterns. Some differences between 1992 

and 1982 were found in the relationship between income level and rate of attendance, but these 

differences are difficult to interpret because of differences due to inflation. Thus, the survey 

questions concerning income do not reflect increases over the decade in personal income, ticket 

prices, transportation, or omer costs associated with attendance. Full data are reported in 

Appendix A.4. 

II. Participation through Broadcast and Recorded Media 

Participation Via Media in 1992 by Arts Activity 

In general, far more people come in contact with the arts through television, radio, and 

recordings than by attendance at live performances/exhibitions. Table II shows the rates of 

participation (attendance) through media for each of the seven arts activities and compares 

them with the rates for live attendance. Rates of participation through television are higher 

than live attendance rates for all arts activities, and rates of participation through radio are 

higher than live attendance for jazz, classical music, and opera. Significant new participation 

in the arts via video recordings was reported in 1992. 

iv 
 

 

TABLE:H: 1992.RATES OF..ARTS.:PARTICIPA~[ON 

VIA BROADCAST 

 ̄ " ....... ’ ’  ̄ 

.... :Arts Type "TV: VCR VCR:.. 

 ̄ .  ̄ , ... .. Video" 

Jazz 21% 4% 22% 2g% 21% 11% 

Classical 25 4 26 31 24 13 

Music 

Opera 12 1 12 9 

Musical 15 4 17 4 6 17 

Play 17 3 18 3 NA 14 

Dance" 19 2 20 NA NA l 0 

Visual Arts 32 2 34 NA NA 27 

Entries under video refer to the proportion of respondents who used either TV or VCR. 

"Question formats for media and for live attendance ar~ different. The media question includes ballet, modern, folk, 

and tap dance. The live attendance question combines two questions, one referring to ballet only and one to other dance. 

Differences between 1992 and 1982 

Between 1982 and 1992 the major increases in audiences for arts programming through 

broadcast and recording media were in jazz (via television and radio), in classical music and 

in opera (via radio), and in visual arts programs (on television). Significant decreases were 

found in media audiences for musicals (via television and recordings) and for watching plays 

on television. Participation rates for visual arts on television grew by 9 percentage points. 

Total radio audiences increased by 10 percentage points for jazz and by 12 points for classical 

music. Figure II-a, II-b and II-c show the participation rates for the three media in 1982, 1985, 

and 1992. Table II.4 in Chapter II presents further details on these data. 

Demographic Correlates of Participation through Broadcast and Recorded 

Media: 1992 and 1982 

The relationships between demographic factors and participation through the media generally 

are the same as those for attendance at live events. Educational level again is the strongest 

predictor of arts participation. Demographic groups that attend live performances and 

exhibitions also are likely to watch and listen to broadcast and recorded presentations. In 

general there are fewer demographic differences in arts participation through the media than 

for participation via live attendance. Figures 14 through 16 in Chapter II illustrate the data. 

v 
 

Arts Participation Through Television 

1982 to 1992 

35, 

30’ 

Figure II-a 

20 

15 

10 

"1982 

I-1~988 

1~1992 

Jazz Classical 

Music 

Opera Musicals Plays Visual 

Arts 

Arts Participation Through Radio 

1982 to 1992 

Figure II-b 

1982 

I-’]1985 

~1992 

Jazz Classical 

Music 

Opera Musicals Plays 

25 

Arts Participation Through Recordings 

1982 to 1992 

~11 1982 

Figure II-c 

15 

10 

I-I~9~s 

[ 1~1992 

Jazz Ct=sslc~l Opera Mulcts 

Music 

vi 
III.	 ParticiDation in the Arts through Personal Performance and 

Creation 

People also can participate in the arts by performing and by creating arts products, as well as 

by taking lessons and classes in various arts activities. Table III shows the percentage of the 

population that reported engaging in the performing arts and in arts and crafts activities in the 

1992 survey. The two sets of columns show personal participation in private and in public 

performances. 

Type .of ~i~ipation .. 

Music/Art Play Jazz 1.7% 3.1 .70% 1.3 

Performances 

Play Classical Music 4.2 7.8 .90 1.7 

Sing Opera 1.I 2.0 .24 .40 

Sing Musical 3.8 7.1 .73 1.4 

Sing Choral NA NA 6.3 11.7 

Act NA NA 1.6 3.0 

Ballet .2 .4 .03 .10 

Other Dance 8.1 15.0 1.2 2.2 

Art/Crafts Pottery 8.4 15.6 1.7 3.2 

Needlework 24.8 46.1 2.4 4.5 

Photography 11.6 21.6 1.7 3.2 

Painting 9.6 17.8 2.0 3.7 

Creative Writing 7.4 13.7 .9 1.7 

Composing 2.1 3.8 .7 i.3 

While the rates of personal participation in the arts are much lower than the rates of 

participation through attendance at live events, millions of American adults do personally 

participate in the arts. Nearly 12 million people sing in public performances by choirs or glee 

clubs; about 46 million people do needlework and 4.5 million people publicly display their 

needlework. About 40 percent of SPPA 1992 respondents said that they had taken music 

lessons at some time during their lives. The proportion who had taken art appreciation 

vii 
insa’uction was 23 percent, and rates of 16-18 percent were reported for instruction in visual 

arts, dance, creative writing, and music appreciation. 

There are differences in the reported rates of personal participation between 1982 and 1992, 

but the absolute number of responses is small and changes in question format limit 

comparability. A notable decline was found in the rate of personal participation in needlework, 

pottery, and metal/leather activities. There also were notable declines between 1982 and 1992 

in the proportion of respondents who had taken different types of arts lessons or classes at 

some time in their lives. The proportion who had taken music lessons dropped from 47 

percent to 40 percent. The proportion who had taken classes in painting and other visual arts 

declined from 25 percent to 18 percent. The only increase was in the percentage taking art 

appreciation classes, which increased from 20 percent to 23 percent. Detailed data on these 

changes are shown in Table III.2 and Table III.3 in Chapter III. 

Comparisons of the Different Types of Arts Participation 

There are patterns in the different forms of participation, though the personal performance 

levels are far lower than the attendance levels. For example, for all three types of participation 

the audience for classical music is consistently slightly higher than the jazz audience, which 

in turn is larger than the audience for opera. For all three types of participation, the rates for 

the visual arts - attendance at art museums and painting - are higher than the rates for stage 

performances - opera, musicals, plays, and dance. However, among stage events the rank 

order varies with the type of participation. Chapter IV gives further discussion of these 

differences among types of arts participation. 

Comparisons of Participation in the Arts with Participation in Other Leisure 

Activities 

One gauge of public commitment to the arts is the previously mentioned 41 percent of 

respondents who reported attending any of the seven benchmark live arts activities. In 1992 

this fraction was slightly larger than the 39 percent participation in 1982. Table IV shows the 

reported participation rates in 1982, 1985, and 1992 for attendance at arts events and 

participation in other leisure activities. While the participation rates in exercise, movies, 

gardening, amusement parks, and home improvement activities were higher than the 41% rate 

for the arts, the participation rates for active sports, sports events, outdoor activities, and 

volunteer/charity work were lower. 

. viii 
Activity 1982 

Percent: Percent i:Per~ent , 982 tO 1982 

Arts Participation* 39% 39% 41% +2 

Exercise 51 57 60 

Movies 63 59 59 

Gardening 60 55 55 

Amusement Parks 49 45 50 +1 

Home Improvements 60** 58** 48 NA 

Active Sports 39 41 39 O 

Sports Events** 48** 50** 37 NA 

Outdoor Activities 36 37 34 -2 

Volunteer/Charity 28 30 33 +5 

TV Hours/Day 3.0 2.8 3.0 hours 

Defined as attendanc~ at one of the seven benchmark arts activities in Table I 

Questions asked in 1982 and 1985 were different from questions in 1992. 

Statistically significant at the 95% confidence level, 

Attitudes towards the Arts 

About 71 percent of the 1992 SPPA sample expressed an interest in attending more arts 

performances and events. Increased interest was expressed for each of the seven benchmark 

arts activities and was roughly proportional to current attendance at each activity. The interest 

in attending additional events was especially high among those respondents who already had 

attended arts events in the previous year. Respondents also showed increased liking for jazz, 

classical music, opera, and show tune music. 

Summary 

Across the 1982-1992 decade more Americans in general participated in the arts through 

attendance at live events, through broadcast and recorded media, and through personal 

performance and creation. SPPA’92 has documented the following changes in the public’s arts 

participation over the decade: 
In 1992, 41 percent of adults in the United States attended an arts performance 

or exhibition during the previous year, in.contrast to 39 percent in 1982 and 

1985. 

The attendance rate at art museums and galleries is up almost 5 percentage 

points since 1982; total attenders approached 50 million for 1992. 

Smaller, not statistically significant increases are found in live attendance at arts/ 

crafts fairs, jazz, and non-musical stage plays. 

Audiences for opera, classical music and jazz programming on radio increased 

by 49, 60, and 71 percent, respectively. 

Almost 12 million American adults sing choral music in a public performance, 

and 15 million are active in modem dance. Lisiening and watching via the 

broadcast media goes along with increased attendance and personal performance. 

Certain arts activities have not fared as well. Reading literature is down about 

3 percentage points, and visits to historic parks/design sites is down 5 points. 

TV audiences for musicals and plays are down 6-9 percentage points. 

Public interest in increased attendance is up significantly for the seven 

benchmark arts activities, and increases are found in the proportions of the 

public who say they like jazz, classical, opera, and musical/operetta music. 
FOREWORD
 

Purpose 

This report summarizes the main findings and trends emerging from data collected from the 

1992 Survey of Public Participation in the Arts (SPPA’92). The report first presents basic data 

relating to public attendance in 11 different types of art performances and events: jazz, classical 

music, opera, musicals, plays (non-musical), ballet, other dance, art museums, arts-crafts fairs, 

and historical parks/design sites. Data used to describe participation in these various art forms 

include demographic factors such as gender, race, age, education, and income. 

In addition to data gathered from a regular schedule of live-attendance questions asked 

throughout the year, questions were asked of all 12,736 respondents about media participation 

in most of the arts activities listed above. Additional questions on arts socialization 

experiences during childhood, on art classes or lessons taken, on music preferences, and on 

other leisure activities were gathered in the second half of 1992. 

These data are available on computer tapes, and copies can be obtained by contacting the 

Research Division, National Endowment for the Arts, 1100 Pennsylvania Avenue, N.W., 

Washington, D.C. 20506. 

History 

As the most comprehensive national survey on arts participation, the SPPA surveys enhance 

our understanding of who participates in which arts activities and how often. SPPA’92 builds 

on the findings from two previous national surveys of arts participation: SPPA’82 and 

SPPA’85. Unlike other, earlier surveys of public participation in the arts in American life, the 

1982 SPPA articulated a standard definition of arts participation for particular arts activities 

(e.g., opera and jazz). The SPPA surveys have also examined various modes of arts 

participation: as performer, as audience member at live performances, or as user of the 

broadcast and recorded media. The incompatibility of question wording and of procedures 

employed in data collection across the various studies prior to 1982 limited their use in 

identifying trends in arts participation over time. In addition, unlike prior telephone surveys, 

which overrepresented the more educated and affluent portion of the population when 

compared to personal interviews, SPPA surveys have achieved much higher response rates than 

were obtained in such studies. As a result, the SPPA surveys have provided a more systematic 

and definitive collection of arts participation data: one that can be both generalized to the 

American population with suitable confidence and also replicated regularly to track trends in 

participation. 

xi 
Data Collection 

The SPPA’92 data were collected in household surveys conducted by the U.S. Bureau of the 

Census as part of a larger national panel survey. About three-quarters of these interviews were 

conducted by telephone. Face-to-face interviews were conducted in the respondents’ home 

with respondents who could not be interviewed by telephone. Respondents in non-telephone 

households were interviewed in their homes. Each interview took about eight minutes to 

complete during the first six months of 1992 (i.e., January through June), and 16 minutes for 

the second six months. 

Survey participants Consisted of a cross-section sample of adult Americans (over age 18). The 

Census Bureau interviewed approximately 1000 respondents per month in 1992, so that arts 

participation data are available for 12,736 respondents. 

Each month’s interview began with questions about general attendance at arts performances 

during the previous 12 months. A second set of items examined the extent to which arts 

activities were experienced through the broadcast media. During the second half of the year, 

the interview also included supplementary questions about personal arts participation, 

socialization experiences, music preferences, desires for more arts participation, and 

participation in other types of leisure activities. 

The completed questionnaires were returned to the’Census Bureau in Suitland, Maryland, where 

they were edited for final keying onto a computer tape. These coded survey answers were then 

merged with coded data on each respondent’s background (e.g., age, education, race) that were 

obtained in the panel part of the Census Bureau survey. These demographic data were then 

weighted to reflect U.S. population characteristics and projected to the total U.S. adult 

population. 

The Census Bureau was selected to conduct these nationwide surveys because of its ability to 

collect standardized data with minimal distortion due to respondent noncooperation or sampling 

bias. Researchers from several arts organizations and universities consulted on the design and 

execution of the study, which were based on results and conclusions from the 1982 and 1985 

SPPA surveys. 

Outline of the Questionnaire 

The SPPA’92 questionnaire for January through June consisted of two types of questions: a 

set of items on annual attendance at live arts events and a set of items that surveyed parallel 

arts participation via the broadcast media of video, radio, and recordings. Appendix A. 1 shows 

the attendance items, which include questions on the extent of annual attendance at arts 

performances and events. Appendix B. 1 shows the media items. The questionnaire for the 

second six months of the year also included supplementary sets of questions about personal arts 

xii 
participation, arts lessons/classes taken, other leisure activities, interest in attending more 

artsevents, and music preferences. These items are shown respectively in Appendices C-E. 

Survey Methodology 

Respondents in the survey were part of a larger continuously rotating panel of respondents who 

were interviewed every six months over a three year period. These individuals lived in 

households randomly selected by the U.S. Census Bureau to represent the total U.S. adult 

population (18 years old or older). Census Bureau population counts were used to draw the 

sample in such a way that all individuals living in households in the United States had a known 

and equal chance of selection. The sample frame was essentially the same as that used in the 

1982 survey. 

All individuals aged 18 and over in these selected households were eligible to be included in 

the survey. Less than 20% of all eligible individuals in these selected households could not 

be interviewed. The final data were weighted slightly to ensure that the final sample was 

completely representative of the 1992 U.S. population in terms of age, race and gender. 

Differences in Questions Asked 

A main advantage of the 1992 survey is its increased sample size for many of the questions 

asked in the 1982 and 1985 surveys. This sample size advantage applies particularly in the 

case of the questions dealing with the use of the broadcast media for arts programs or content. 

Most of the questions in SPPA’92 were identical to questions asked in the earlier SPPA 

surveys. However, there were also important differences and innovations in the 1992 

questionnaire. While these differences expand our understanding of arts participation, some 

of them limit comparability, with the earlier surveys, and questions asked for the first time 

cannot provide trend information. The changes in the questions asked in SPPA’92 are as 

follows: 

ATTENDANCE Inclusion of attending other dance performances 

AT LIVE Asking annual number of attendances 

ACTIVITIES Inclusion of reading books 

Separate question for novels, poems, and plays 

Inclusion of live/recorded poems and novels 

BROADCAST Inclusion of VCR viewings for all benchmark activities 

MEDIA AND Asking annual number of TV/VCR viewings 

RECORDINGS Inclusion of other dance viewings (with ballet question) 

Xlll 
PERSONAL	 Inclusion of composing music, dancing, and owning art 

PARTICIPATION	 Inclusion of public performance/display of eight new arts forms 

Inclusion of dance lessons besides ballet 

Specific lessons in eight arts forms in the past year 

Exclusion of youth sports in question on sports event attendance 

ATTITUDES	 Inclusion of interest in attending more dance performances
 

Inclusion of ten new types of music in question of liking
 

Perhaps the most significant change was the collection of data on estimated numbers of 

attendanees in the previous year among those who had attended. This change allows analysis 

of the extent of a respondent’s participation and not just whether they may have happened to 

attend one or two performances. 

The innovations also included asking respondents about the number of books read and the 

number of viewings of TV/VCR arts programs. Another media change was the inclusion of 

listening to recordings on CDs as well as records and tapes. 

Other significant changes included new questions on several forms of dance besides ballet, 

such as modem dance, folk dance, and tap dance. These extended questions on dance involved 

not only attendance at live performances, but media viewings, lessons taken, and interest in 

seeing more performances. Two questions were asked concerning live performances, one on 

ballet and one on other dance forms. All the dance forms were combined in one question 

concerning participation through the broadcast and recorded media. 

Certain new arts activities were explored for the first time. These included composing music, 

owning art works, and listening to live readings of poetry and novels, along with taking art 

lessons in the last year and displaying art objects or performing in art events during the past 

year. 

Using the Data in this Report 

These SPPA’92 data can be used as a basis for identifying trends and for making policyrelevant assessments of arts-related behavior in the United States. Such assessments include: 

(1) determining if and how attendance is changing; (2) identifying activity patterns among 

different segments of the population; (3) determining factors that seem to stimulate or inhibit 

arts attendance; and (4) identifying the life styles and activity patterns of people who attend 

arts performances and events. 

Because the sample was chosen to be representative of the entire U.S adult population and a 

high response rate was obtained, the results of the survey can be extrapolated to produce rather 

precise projections of the number of adults who participated in each of several arts-related 

activities. For example, the survey was designed to generate population estimates of the 

xiv 
number of people who visited an art museum, who attended an opera, or who listened to 

classical music on the radio. Moreover, because of the size of sample, it is also possible to 

derive useful population estimates of arts attendance rates by particular demographic groups 

(racial groups, age groups such as those 60 or older, etc.). 

Data Tabulations and Proiections 

The data presented in this report were generated from a master file tape from the U.S. Bureau 

of the Census. The data were downloaded onto a personal computer for analysis by SPSSPC. 

They are weighted to reflect 1990 Census Bureau data on sex, age and race ....... 

The tabulations that are shown are based on respondents for whom a response to each question 

was obtained. In other words, missing responses and "Don’t know" responses are excluded. 

For most of the core questions, then amounted to less than 0.5%. For many of the additional 

questions, asked only in the longer questionnaire given in the July-December surveys, missing 

data numbers exceeded 1% and came closer to 1.5% of all respondents. An initial analysis of 

the respondents for whom such missing responses were obtained show them to be slightly 

lower in participation in other arts activities, but not low enough to warrant counting them 

simply as non-participants in the activity in question. 

Thus, our calculations of participation rates in Chapters I-IV exclude respondents from whom 

no participation data were obtained. That means that their participation rates are presumed to 

be the same as the rest of the population. While that may result in slightly inflated estimates 

of participation, it seemed a less arbitrary and misleading step than treating all non-respondents 

as non-participants. Future analysts who prefer to use the latter strategy will therefore obtain 

lower participation rates than reported here. 

The reader will also notice that we have calculated the Chapter I attendance data on the basis 

of three decimal places rather than two decimal places in most of the latter chapters. That is 

because of the larger sample size basis for these questions -- both in SPPA ’92 and the earlier 

surveys. Third and fourth decimal places are also used in Chapter III in estimating population 

characteristics at or around 1% levels in order to show the magnitude of difference found for 

these rare characteristics. That does not imply these estimates have that degree of precision. 

Organization of the Report 

The report is organized into seven chapters. Chapters I-III describe the results of the survey 

by each of the three forms of arts participation by the respondents, namely: 

Attendance at live arts performances and events,
 

Listening and/or watching arts programs through broadcast and recorded media,
 

Personal arts performance or creative arts activity.
 

xv 
Each chapter contains statistics of participation for seven benchmark arts activities for which 

identical questions were asked both in 1982 and 1992. These activities are Jazz, Classical 

Music, Opera, Musicals, Plays, Ballet, and Art Museums. The SPPA’92 also included 

questions on dance forms other than ballet, on literature read, and on attendance at arts and 

crafts fairs and historic parks/design sites. Chapter I presents information on participation in 

these activities as well. 

These analyses give particular attention to changes across the decade 1982-1992. Each chapter 

also presents analyses of participation by the respondents’ demographic background. These 

factors include each respondent’s 

Gender
 

Race
 

Age
 

Education
 

Income
 

Demographic breakdowns are presented for the various arts activities in Appendices A-E, along 

with comparisons between the 1982 data and the 1992 data on the public’s participation in the 

arts activities. 

Chapter IV compares data on the public’s arts participation with its participation in other 

leisure activities and compares arts participation through attendance, through media, and 

through personal performance. Chapter V presents data on the public’s interest in increased 

arts activity and presents information on music preferences. Chapter VI describes results from 

related 1992 surveys to show correspondences between the nationwide results and those found 

within 12 diverse communities across the country. Chapter VII presents certain conclusions 

and future steps in the analysis of the data. Appendices contain detailed tabular presentations 

of data and the questionnaires used to collect the data. 

xvi 
CHAPTER I. ATTENDANCE AT LIVE ARTS 

PERFORMANCES/EVENTS 

This chapter describes public participation in the arts by attending live arts performances and 

events. Section A covers general attendance levels for these various arts activities. Section 

B discusses differences in attendance by different demographic groups. Many of the analyses 

focus on the seven arts activities that were asked about identically in 1982 and 1992. For this 

report we have designated these as "benchmark" activities to facilitate references to them. 

These activities include performances of jazz, classical music, oper~ ,musicals, plays, and 

ballet, as well as display events at art museums and galleries. Reading literature is not 

included as a benchmark activity because the question was changed in 1992, and because 

reading does not involve attendance at a specific arts facility. 

A. General Attendance 

This section first presents the 1992 annual attendance rates for various arts activities. The 

average frequencies of attendance are then given and used to produce national estimates of the 

average number of annual attendances for each arts activity. Finally, 1982-1992 trends in 

attendance are shown both in terms of changes in attendance rates and in terms of changes in 

audience sizes. The questionnaire for these attendance items is given in Appendix A.1. 

Related tables of data can be found in Appendices A.2 through A.4. 

About 41% of all SPPA’92 respondents reported having attended, during the previous year, at 

least one of the seven types of live arts activities designated as a benchmark from SPPA’82. 

In tables I. 1 to 1.4 these activities are denoted by a "B". This overall attendance rate at arts 

performances/events was slightly higher than the 1982 and 1985 overall attendance rates, both 

of which were closer to 39%. Table 1.5 presents differences in this attendance rate by 

demographic factors. 

1. 1992 Attendance Levels 

Attendance levels in 14 types of arts activities are arrayed in Table I. 1 in descending order of 

their attendance rates. Column 2 shows the proportion of survey respondents who reported that 

they had attended a performance of that type at least once during the previous year. The third 

column translates these percentages into population estimates for U.S. audiences for each art 

activity. These numbers should be interpreted as representing the total number of American 

adults who attended the respective activity at least once during the previous year; when 

multiplied by frequencies of attendance (Table 1.2), they reflect the total annual number of 

attendances. 
~ ..... Attendan~ :iRate: :-: !!!F~timated: !U.Si iAudien~: i:. 

Opera (13) 3.3 6.1 

Ballet (B) 4.7 8.7 

Reading Plays 5.9 . 11.0 

Other Dance 7.1 13.2 

Jazz (B) 10.6 19.7 

Classical Music (B) 12.5 23.2 

Plays (B) 13.5 25.1 

Musicals (B) 17.4 32.3 

Reading Poetry 18.4 34.2 

Art Museums (B) 26.7 49.6 

Historic Parks 34.5 64.1 

Art/Craft Fairs 40.7 75.6 

Reading Novels/Short Stories 52.1 96.8 

Reading Literature" 54.0 100.3 

Compotcd by multiplying the attendance rat~ by the U.S. adult population (185.8 million). 

(B) Benchmark Activity 

"’Literature includes any of play, poems, novels or short stories. 

Attendance at Benchmark Arts Activities: It can be seen that the highest attendance rate 

among the seven benchmark activities was the attendance rate at art museums: 26.7% of the 

SPPA’92 respondents reported that they had visited an art museum or gallery at least once 

during the previous year. The benchmark activities that had the lowest attendance rates were 

ballet and opera: 4.7% and 3.3% respectively. 

Other Arts Activities: SPPA’92 also collected data on several other arts-related activities: 

reading literature in various forms as well as attendance at art/crafts fairs, historical parks, and 

dance performances other than ballet. The highest participation rate out of all of the arts 

activities occurred for reading literature, with 54% of the respondents saying they had read at 

least one novel, short story, poem or play during the previous 12 months. At the bottom of 

Table I. 1 it can be seen that this participation rate translates into more than 100 million adults 

who read one of these forms of literature during the previous year. Among "other" arts 

activities, the lowest attendance rate was in the "other dance" category; with 7.1% of the 

respondents reporting that they had attended a dance performance other than ballet at least once 

during the previous year. 
2. 1992 Frequencies of Attendance 

SPPA’92 respondents also were asked to estimate the number of times they had attended each 

type of arts activity during the previous year. Averages of the responses to these frequency 

questions (i.e., average number of attendances per attender) are shown in the second data 

column in Table 1.2. In the case of jazz, Table 1.2 shows that people who attended jazz 

performances during the previous year did so an average of 2.9 times (people who did not 

attend a jazz performance not included in that average.) 

TABLE L2: 1992~FREQUENCIES OF ATTENDANCE 

Jazz (B) 19.7 2.9 57.1 

Classical Music (B) 23.2 2.6 60.3 

Opera (B) 6.1 1.7 10.4 

Musicals 03) 32.3 2.3 74.5 

Plays (B) 25.1 2.4 60.2 

Ballet (B) 8.7 1.7 14.8 

Art Museums (B) 49.6 3.3 163.7 

Other Dance 13.2 3.0 39.6 

Art/Craft Fairs 75.6 2.7 204.1 

Historic Parks 64.1 3.8 243.6 

"Activities a~	 listed in their order of appearance on the questionnaire. Literature is not included because the information obtained 

relates to the number of books t~ad. 

"’Computed by multiplying the average number of attendances by the size of the respective annual U.S. audience 

03) Benchmark Activity 

The last column in Table 1.2 shows the estimated total number of annual attendances for each 

art activity. This number is calculated by multiplying the average number of attendances per 

attender by the size of the respective annual audience, as estimated in Table I. 1. For example, 

the 57.1 million annual attendances for jazz was obtained by multiplying 2.9 (average number 

of attendances per attender) by 19.7 million (the estimated size of the annual U.S. adult jazz 

audience). 

The average number of annual attendances in Table 1.2 varies between 1.7 for opera and ballet 

and 3.8 for historic parks; in the latter activity, almost three percent of the sample said they 

visited such locations I0 or more times. 
Note that the rank order of the number of attendances in Table 1.2 differs from the ordering 

by attendance rate and audience size in Table 1.1. For example, even though the attendance 

rate at historic parks is lower than the attendance rate at arts/crafts fairs, the total number of 

visits to historic parks (243.6 million) is considerably larger than the total number of visits to 

art/craft fairs (204.1 million). The reason for this reversal is that those who attended historic 

parks estimated that they made more visits to such parks (3.8 on average) than those who 

visited art/craft fairs (2.7 visits on average). Similarly, attenders of classical music concerts 

estimated that they attended more of these concerts (2.6 on average) than those who attended 

plays (2.4 on average), leading to more overall attendances at classical music concerts than 

stage plays despite lower attendance levels in the population. 

In this way, a smaller but more active audience for one arts activity can lead to a larger overall 

number of total attendances for that arts activity. Unfortunately, it is not possible to compare 

these volume-of-attendance (see Chapter VII) figures to previous SPPA surveys since these 

frequency data were obtained differently in the earlier surveys. 

3. Trends in Attendance Levels: 1982-92 

Trends in attendance levels between 1982 and 1992 are presented in Table 1.3 and shown 

graphically in Figure 1. Of the ten activities that could be compared for trends, three showed 

statistically significant changes since 1982: attendance at art museums/galleries increased 

significantly, while attendance at historic sites and the reading of literature decreased 

significantly. The 2.9 percentage point decline in the rate of literature reading is the largest 

decrease in Table 1.3. The biggest overall change was the 4.6 percentage point increase in the 

proportion of people who had visited an art museum. 
TABLE I.~: 1992-82 DIFFERENCES fIN ATTENDANCE RATES 

Arts Aaivity Percentage .Attending i Difference 

1982 : :Change from

1982 to 1992 (n=17,254) (n=13,675) (n=12,736)
 

9.5 10.6 +!.0 Jazz (B)	 9,6 

12.5 -0.5 Classical Music (B)	 13.0 12.7 

0~ m)	 3.0 2.6 3.3 +0.3

Musi~Is (B) 16.6 17.4 -I.2 18.6 

I 1.6 13.5 +!.6 Plays (B)	 11.9 

4.3 4.7 +0.5 BMiet (B)	 4.2 

21.9 26.7 +4.6** A~ Museums (B)	 22.1 

NA NA 7.1 NA O~er D~ 

40.7 +1.7 A~C~ Fai~	 39.0 40.0 

36.0 34.5 -2.5"* Histo~c P~	 37.0 

54.0 -2.9"* R~ding Literal"	 56.9 56.1 

"Ca~ should be taken in comparing these percentages becaus~ a new question fommt was used in 1992. In 1992 separate questions we~ 

asked about reading plays, poem/, or novels and short stories. A positive ~sponse m any of these qu~tions was interpr~ed as "reading 

literature." In 1982 only one question was asked about all foug .types of literature. Also not= that comparisons cannot be made across the 

different types of litm’ature because s~para~ questions were not asked in the 1982 and 1985 SPPA surveys. 

"’Statistically significant at the 95% 	onfidenc~ I~vel. (Signilk~n~ test calculations are shown in Appendix G) 

(B) Benchmark Activity 

NA Data not available 

Though not statistically significant, attendance at plays increased by 1.6 percentage points. 

This increase was to some extent offset by the decline (not statistically significant) of 1.2 

percentage points in attendance at musical stage plays. Thus, the sum of the percentages for 

musicals and plays (re., both types of theater) changed little over the time period. 

There was no statistically significant change in the proportions of people who attended jazz, 

classical music, opera and ballet performances. Comparisons of the SPPA’92 data with the

SPPA’85 data indicate similar conclusions and trends. 

These changes can be seen more clearly in Figure 1, which displays the Table 1.3 data for the 

benchmark activities in bar chart form. As can be seen in the chart, the biggest change was 

in the attendance at an museums, which increased from 22.1% in 1982 to 26.7% in 1992. 
 

GENERAL ATTENDANCE RATES 

FOR BENCHMARK ARTS ACTIVITIES: 

1982to 1992 

3O 

25 Bi1982 

~’-11985 

~1992 

~ 10 

Opera Ballet Jazz Classical Plays Musicals Art
 

Music Museum
 

Figure 1 

Another perspective on these changes comes from examining the total population reach of these 

arts activities across the decade. Table 1.4 shows changes in the estimated total number of 

adults who attended arts performances in the previous year. 

Since the adult population across the decade increased by 21.8 million people (from 164 

million people in 1982 to 185.8 million people in 1992), it is possible for some arts audiences 

to have actually increased in spite of stable or even declining attendance proportions. Thus, 

if I0% attended a given type of arts event both in 1982 and in 1992, the number of attenders 

would have increased from 16.4 million to 18.58 million. In the case of attendance at classical 

music performances, Table 1.4 shows a rise of 9% in population terms - despite the 0.5 

percentage point decline in the attendance rate given in Table II.3. 

As shown in the last column of Table 1.4, attendance at every type of arts event increased in 

population terms between 1982 and 1992. Attendance at art museums showed the largest 

proportionate increase: 36.2 million people in 1982 compared to 49.6 million people in 1992 ­

or an increase of 37%. The increase for opera was almost as large - from 4.5 million in 1982 

to 6.1 million in 1992, an increase of more than 35%. In contrast, musicals and classical music 

attendance increased by less than 10%. The number of visitors to historic parks showed the 

smallest increase: 5.8%. 
1992-82 DIFFERENCES IN TOTAL NUMBERS OF 

ATTENDERS 

TABLE 1.4: 

~umb~r Attending Percentage Art Form 

(Millions) Change" 

1982 1992 1982~92. 

93.3 100.3 +7.3 Reading Literature
 

75.6 +!8.3 Art/Craft Fairs 63.9 

60.6 64.1 +5.8 Historic Parks
 

49.6 +37.0 Ar~ Museums (B) 36.2 

30.5 32_3 +5.9 Musicals (B)
 

19.5 25.1 +28.7 Plays (B)
 

23.2 +8.9 Classical Music (B) 21.3 

15.7 19.7 +25.5 Jazz (B) 

NA 13.2 +NA Other Dance 

6.9 8.7 +26.1 Ballet (B)
 

Op~a (B) 4.5 6.1 +35.6 

(B) I~nchm~ Activity. 

"The adult population increased from 164 million in 1982 to 185.8 million in 1992, an increase of 13.3%. Increases
 

below 13.3% indioato less audience growth than population growth across Ihe decade
 

B. Demographic Differences in Attendance Levels 

Variations in attendance rates by five demographic variables (gender, race, age, education, and 

income) were examined to identify the major predictors of attendance at live performances/ 

events. Pronounced differences in the attendance rates at arts activities were found among 

different demographic groups of the population. 

As was the case in the 1982 and 1985 SPPA data, education clearly emerged as the strongest 

demographic predictor of arts attendance rates (either considered independently or after 

statistical adjustment for the other demographic variables). While income was also an 

important predictor, its predictive power was weakened considerably when education and other 

demographic factors were taken into account via statistical control. The main exception was 

the notable higher attendance rate of the highest income group. 

In examining overlapping arts audiences, certain pairings of arts attendances showed more 

overlap than others: for example, opera and classical music. However, detailed analysis 

revealed a general common pattern of high correlations across each of the eleven arts activities. 
In other words, the data did not reveal distinct clusters of arts attendance that would suggest 

that audiences for music, theater, dance or the visual arts were considerably different from one 

another. 

1. Attendance Characteristics: 

The segmentation of the public attending the benchmark arts events followed a fairly regular 

pattern. Thus, attendance at live arts events was: 

Mainly related to a person’s socioeconomic background; particularly in terms of 

education, but also in terms of income; 

Higher among women than among men ; 

Higher among middle-aged and younger adults than among older people; 

Higher among white respondents than among blacks or other racial groups. 

Many of the demographic differences disappear when the results are controlled for educational 

level and gender, which are the most important predictors of arts participation. 

Table 1.5 shows how the proportion (41%) of sample respondents who reported that they had 

attended at least one of the seven benchmark art activities during the previous year varies by 

demographic group. In the second column, the percentages are shown before being statistically 

adjusted for the other five demographic factors. The third column presents the percentages 

after the adjustments have been made. These numbers can be compared with 41%, the grand 

mean for the entire sample. 

The statistical adjustment procedure is called Multiple Classification Analysis (MCA) 

[Andrews, et. al., 1973] and helps to separate the statistical effects of many variables that relate 

to a "dependent" variable of interest (here arts attendance). For example, if higher arts 

participation is found both among people with higher education and among people with higher 

income, MCA determines whether the education differences are due to income or the income 

differences are due to education. In effect, MCA acts to "make other things equal" in 

determining which are the most effective predictors of participation. 
Demographic Group 

Overall Sample 

Gender Male 

Female 

Race White 

Black 

Other 

Age 18-24 

25-34 

35-44 

45-54 

55-64 

65-74 

75-96 

Education Grade School 

Some High School 

High School Graduate 

Some College 

College Graduate 

Graduate School 

Income Under $5,000 

$5,000-9,999 

$ ! 0,000-14,999 

$15,000-24,999 

$25,000-49,999 

$50,000 + 

Not Ascertained 

Before~iS~i~al ARer ~iSta.tistical 

41% 

40 

42 

42 

35 

37 

42 

43 

44 

45 

40 

37 

20 

8 

15 

30 

52 

66 

77 

23 

23 

22 

36 

65 

41 

Adjustment
 

41%
 

38
 

43
 

41
 

41
 

32
 

40 

39 

41 

43 

45 

35 

13 

18 

31 

51 

64 

73 

32 

34 

.31 

39 

42 

53 

40 

Sample Rate 

(0%) 

+2 

0 

0 

-9 

+3 

-1 

-2 

0 

+2 

+4 

-6 

-28 

-23 

-I0 

÷10 

+23 

+32 

-9 

-7 

-I0 

-2 

+I 

+i2 

I -1 
Before MCA adjustment, it can be seen that women (42%) were slightly more likely to attend 

a benehrnark activity than were men (40%). Whites (42%) were more likely to attend one of 

these art forms than were either blacks (35%) or other races (37%). The attendance rate for 

benchmark activities remained rather constant across age groups until retirement years. The 

attendance rate drops to 37% for those aged 65-74 and to 20% for those aged 75 and older. 

Major and steady increases can be seen across education groups, with only an 8% attendance 

rate among those with a grade school education compared to a 77% attendance rate among 

those with a graduate degree. In the same way, low income groups show relatively lower 

attendance rates than high income groups: less than 23% for those with less than $5000 annual 

income compared to 65% among those with $50,000 or more annual income. 

In the second data column of Table 1.5, it can be seen that, after MCA adjustment, women’s 

already slightly higher attendance rate increased somewhat, from 2 points higher to 5 points 

higher than the attendance rate of men. Racial differences between blacks and whites became 

smaller (from 7 points to 0 points) after adjustment; however, the attendance rate of other races 

was notably lower after adjustment. The 21 point lower attendance rate among people older 

than 74 is almost entirely "explained" by the other factors (especially education); after MCA 

adjustment, the 18-24 and 65-74 year old age groups have the highest attendance rate (44­

45%). Education differences were also reduced, from 69 points (77% vs. 8%) to 60 points 

(73% vs. 13%). Income differences decreased from 42 points to 20 points when adjusted by 

MCA for the other factors (particularly education). 

In other words, MCA indicates that education is by far the most significant predictor of 

attendance at live arts performances and events, followed by income differences (mainly 

produced by those at the top of the income scale). Suburban residents and women attend arts 

events at higher-than-average rates, while other races attend at lower-than-average rates given 

their socioeconomic status. Age differences are particularly interesting because the above 

average rate of attendance for those aged 25-44 becomes below average after taking the other 

demographic factors into account. 

These demographic patterns characterize most art forms, as will be seen in the analyses to 

follow. Data for these analyses are given in Appendix A.2. 

2. Audience Demographics for the Benchmark Arts Activities 

This section describes the 1992 audience for each art form by demographic groups. Figures 

2 through 8 illustrate the data. These data are not adjusted by MCA. The demographic 

variables used include gender, race, age, education, and income. In general, the patterns 

described are quite similar to those found in the 1982 data, which are shown in Appendix A.3. 

The demographic background data for all arts activities (benchmark as well as other activities) 

are shown in Appendix A. 

10
 
1992 Attendance at Jazz Performances 

25 

20 

15 

10 

Gender 

Male 

Female 

Race 

[] W, te 

~ Other 

Age 

(Years) 

[] 

~J 35- 44 

Education 

(Years) 

[] 0-8 

 ̄ ~ 12 

Income 

($000s) 

[] o-s 

~] 11- 15 

~ 7S + ~ NA 

Gender: 

Race: 

Age: 

Education: 

Income: 

Figure 2 

Jazz was the only arts activity in which men were slightly more likely than women to attend live 

performances. 

Jazz was the only arts activity in which blacks had the highest level of attendance. Blacks were 

most likely to attend jazz performances while people of other races had the Iow_est attendance rate. 

In contrast to the other arts activities, attendanc	 rates decline steadily as age increases, with the 18­

24 year old age group being twice as likely to attend jazz performances as those over 64. 

Attendance at jazz performances increases steadily as education increases, with two noticeable 

jumps. The attendanc	 rate of respondents who had some college was more than three times as high 

as the attendance rate of respondents who had only graduated from high school. There was also a 

noticeable jump in attendance rates between respondents who had some college and respondents who 

had graduated from college. 

Attendance rates by income group showed noticeable changes occurring for two groups. The 

attendance rate more than doubled between the $10,000-14,999 and $15,000-24,999 income groups 

and there was a large jump between the next to the highest and the highest income groups. 

I1 
 

1992 Attendance at Classical Music Performances 

40
 

35
 

30
 

25
 

20
 

15
 

10
 

5
 

0
 

Race	 Age Education Income Gender 

(Years) (Years) ($O00s) 

[] 0-8 [] 0-5 

Female [] e, aok [] =5-3. [] ,-11 [] 6-1o Male [] White [] 18- 24 

[] Other 35-44 [] 12 [] 11-15 

. I~[] .5-5. [] 13-15 [] 1~-~5 

~ 7S + ~ NA

Figure 3 

Gender:	 Women were about 20% more likely to attend classical music performances than men were. 

Race: The attendance rates of whites and other racial groups at classical music concerts were nearly double

the rates of blacks.
 

Age: Attendance rates by age steadily increased with age in the early years, until peaking at the 45-54


year old age group and declining slightly for older age groups. 

Education:	 Differences in attendance rates by education were quite large. The attendance rate of those who had 

a high school diploma was less than half that of those who had some college education. Differences 

both between those with some college and those with a college degree and between those with a 

college degree and those with graduate school each exceeded 10 percentage points. 

Notable differences in attendances rates for different income groups were found between those who Income: 

made less than $15,000 and those who made between $15,000 and $50,000. The attendance rate of 

those who made more than $50,000 was more than twice the attendance rate of those in the $25,000­

50,000. 

12 
 

1992 Attendance at Opera. Performances 

12 

10 

8 

6 

4 

Gender Race Age Education Income 

(Years) (Years) ($000s) 

Male [] White [] 18- 24 [] O" 8 [] 0"=3 

Female []  ̄  ̄ ,-,,  ̄ 

Figure 4 

Gender:	 Women were slightly more likely to attend opera than were men. 

Race:	 The attendance rate of blacks at opera concerts was only half the rates of whites and other races. 

Age:	 Attendance by age peaks at the 45-54 year old age group, after a progressive inc/~ase in attendance 

rates among younger age groups, and shows a significant drop off after age 74. 

Education:	 A distinctive aspect of opera attendance was the higher attendance rate of those with graduate school 

education, being considerably higher than in any other demographic category and nearly double that 

for college graduates, the next closest attendance rate of any education group. 

Income:	 Opera attendance increased steadily with income, being almost four times as high among those with 

more than $50,000 income as among those with less than $10,000 income. 

13
 
 

1992 Attendance at Musicals 

40 

35 

30 

25 

20 

15 

10 

5 

0 

[] 

Gender 

Male 

Race 

[] White 

Age 

(Years) 

[] 18- 24 

Education 

(Years) 

[] 0-8 

Income 

($000s) 

[] 0-5 

Other 35 - 44 12 11 - 15 

Figure 5 

Gender: The 5 point higher attendance rate for female than male respondents in attending musicals was larger 

than that found for other arts activities. 

Race: Although th~ attendance rate of blacks was lower than the attendance rate for whites, it was higher 

than the attendance rate for other races, a "pattern unlike that found in most_ of the other arts 

activities. 

Age: The attendance rates by age again peaked at the 45-54 year old age group and then declined steadily 

for older age groups. 

Education: Differences in attendance rates by educational level were quite large. The rate nearly tripled 

between those who had some high school and those who had graduated from high school and tripled 

again for those with graduate degrees. 

Income: The attendance rate nearly doubled between adjacent income groups in two comparisons: between 

those who made less than $15,000 per year and those who made between $15,000 and $50,000 per 

year, and between those who made $15,000-50,000 per year and those who made more than $50,000 

per year. 

14 
1992 Attendance at Plays 

~ 30 

r­

._o i 

Gender 

Male 

Female 

Race 

[] White 

~ Other 

Age 

(Years) 

[] 18- 2425-34 

35 44 

Education 

(Years) 

[] 0-8 

~ 

9-11 

12 

Income 

($O00s) 

[] 

~ 

0-5 

6-10 

11 -15 

16 - 25 

26 - 50 

50 + 

NA 

Figure 6 

Gender: The attendance rate of females at plays was about 20% higher than the attendance rate of males. 

Race: The attendance rate of blacks at plays was slightly lower than the attendance rate of whites and 

significantly higher than the attendance rate of other races. 

Age: The 45-54 year old age group again showed a higher attendance rate than either younger or older 

age groups. 

Education: Differences in attendance rates across education groups were quite large, with three of the 

differences across categories larger than 8 percentage points. Those with graduate school education 

reported attendance rates over 5 times as high as those reported by high school graduates. 

Income: Differences in attendance rates by income appeared mainly among those who made over $50,000. 

15
 
1992 Attendance at Ballet Performances 

12 

0 ~ 

Gender Race Age Education Income 

(Years) (Years) ($O00s| 

] Male	 [] Whita [] 18-24 [] o-8 [] 0-5 

[] Female	 [] Black 9-11 ~l 6-10 

1~ Other g 25-3435 44 ~ 12	 11 -15 

16- 25 

26 - 50 

50 + 

NA 

Figure 7 

Gender:	 The attendance rate of females at ballet performances was almost 70% higher than the attendance 

rate of males. 

Race:	 The attendance rate of blacks was less than half the attendance rate either of whites or of other races, 

with other races having a higher attendance rate than whites. 

Age:	 The attendance rates by age differed from other art forms in that it was relatively constant across 

age groups, until age 75, when it drops sharply.. 

Education:	 Attendance rates by education groups showed significant differences, particularly between those who 

were high school graduates and those with some college, and between those who had some college 

and those who were college graduates. 

Income:	 The pattern of attendance by income was not as clear as it was for the other arts activities, with one 

noticeable difference between those who made more than $50,000 per year and lower income groups. 

16
 
1992 Attendance at Art Museums 

60	 | 

~o 30 

Gender Race Age Education Income 

(Years) (Years) ($O00s) 

[] Male [] White [] 

[] Female
 

~ BlackOther
 

[] 

[] 

Figure 8 

Gender:	 Unlike most of the other arts activities, there was almost no difference in the attendance rate between 

males and females. 

P~ace:	 There were noticeable differences in attendance by race, with the other races having the highest 

attendance rate and blacks having the lowest attendance rate. 

Age:	 Unlike the "peak pattern" observed in most of the other art activities, fairly constant attendance rates 

were observed for those between 18 and 54, falling off somewhat among those over age 54. 

Education:	 Differences in attendance by education were again quite large, particularly for those with less than 

a high school diploma. Their attendance rate was less than a tenth the attendance rate of those with 

a graduate school education. 

Income:	 Differences between those who made less than $15,000 and those who made between $15,000 and 

$50,000 were quite large, approaching a factor of 2. Those who earned more than $50,000 also 

exhibited significantly higher attendance rates. 

17
 
 

1992 Participation in Literature Reading 

8O 

o 

Gender Race Age Education Income 

(Years) (Years) ($000s| 

Male 

Female 

[] 

 ̄ 

White 

e=ao~ 

[] 

 ̄ 

18- 2.4

:z5-34 

[] 

 ̄ 

0-8 

~-11 [] O- 5 

 ̄ ~-10 

~ Other [] 35- 44 [] 12. [] 11" 15 

[] 45-54 ~ 13-15 ~ 16-25 

~ ~-~4 ~ ~. ~ ~o. 

Figure 9 

Gender: Women were about 25% more likely than men to have read a novel, short story, poem, or play in 

the previous year. 

Race: Whites were more likely than blacks to have read literature; blacks, in turn, were more likely to have 

read literature than other racial groups. 

Age: Reading literature increases slightly with age until ages 35-44, and declines somewhat for older age 

groups. 

Education: Reading literature increases steadily with each increased level of educational attainment. 

Income: Reading literature increases with each increased level of income, but not as notably as with increased 

levels of education. 

18
 
3. Trends in Arts Attendance by Demographic Factors: 1982-92 

Attendance rates by demographic factors for the 1992 and 1982 data are presented in 

Appendices A.2 and A.3, respectively. The differentials in 1982-92 attendance rates by 

different demographic groups are calculated in Appendix A.4. Only in rare instances did these 

differentials exceed 10 percentage points; in most cases, they were less than 3 percentage 

points. Moreover, many of the larger differences did not seem part of any larger overall trend. 

The changes in attendance rate by gender and race are shown graphically in Figures 10 and 11. 

The changes in attendance rate by age, education, and income involve too many categories to 

present graphically. Data from Appendix A-4 for these factors are reproduced here as Tables 

1.6, 1.7 and 1.8. 

Differences in Attendance Rates by Gender 

1982 to 1992 

8 

4 

 ̄ Male 

[] Female 

0 

-1 

Jazz Classical Opera Musicals Plays Ballet Art 

Music Museums 

Figure 10 

In the case of gender, the 1982-92 changes for men and women were not much different except 

for the slightly greater increase in jazz and art museum attendance by men. 

19
 
Differences in Attendance Rates by Race 

1982 to 1992 

7 77 

[] White 

4 

3 ’l Black i
 2

I O~er 0 ,F-" 0 0 

-2 -2 

Jazz Classical Opera Musicals Plays Ballet Art 

Music Museums 

Figure 11 

As Figure 11 shows, the changes in attendance over the 1982-1992 decade were greater for 

blacks and other races than the changes for whites. Increases for blacks were largest for 

attending museums, plays, and musicals. Respondents of other races showed increases in 

attending museums, jazz, and classical music performances. 

20
 
TABLE L6:, 1982,1992 CHANGES IN ATTEIqDANCE RATES BY EDUCATION 

Percentage Point Change 

Education - Jazz Classical Opera Musicals Plays Ballet 

Music Museums 

Grade School +1 0 0 -1 0 0 +1

-2 - I 0 - I 0 +I
 0
 Some High School
 

High School Graduate
 - I - I - I -2 + I 0 0


Some College - I -4 - I -5 - I 0 +2
 

College Graduate
 +I -6 -I -8 -3 -I +2


Graduate School +5 -3 +2 -8 -1 -2 +4 

Both the differences by education and income are interesting because they generally show more 

negative than positive differentials. These differentials indicate attendance rates that are 

generally below those of their counterparts with equivalent levels of education and income in 

the 1982 study. In the case of education, this shows up for the slightly greater than average 

declines among the college educated for attending classical concerts, musicals and plays. In 

contrast, their attendance at jazz performances shows slightly more gain than less educated 

groups in the 1992 sample. Overall, these negative entries in Table 1.6 suggest that attendance 

did not increase as much as the increases in levels of education between 1992 and 1992 would 

have led one to expect. That is, rather than a small increase or no change in arts attendance, 

one should have expected more of an increase based on the generally higher level of education 

in the 1992 public. 

TABLE 1.7: 1982-1992 CHANGES IN ATTENDANCE RATES BY INCOME 

Percentage Point Change 

Income Jazz Classical Opera~: Musicals :Plays ::: Ballet ~ Art 

Music ..... :, .... Museums 

Under $5,000 -2 -4 +l -2 0 -1 0 

$5,000 - 9,999 -3 -3 0 -2 0 + 1 + l 

$10,000 - 14,999 -3 -4 0 -6 + 1 -2 -6 

$15,000 - 24,999 0 -1 0 -3 +! -I +3 

$25,000 - 49,999 0 -6 +2 - 10 +5 -2 +2 

$50,000 + +1 -8 +2 -10 -10 -i +3 

Not Ascertained + I 0 0 - i +4 0 +5 

The prevalence of negative numbers in Table 1.7 is even greater for the factor of income than 

for education, to some extent reflecting the effects of inflation on earnings (and arts ticket 

21
 
prices) over the decade. In the case of attending performances of classical music, musicals, and 

plays, that is particularly true for higher income groups since one can see larger negative 

numbers for those earning more than $25,000 than for those in lower income groups. The

higher declines for attending classical music, musicals, and plays among respondents in these 

top two income groups suggests a greater than average fall off in their levels of arts 

participation. However, these analyses by income need to be adjusted using comparable

income categories across the decade, a difficult task given that the surveys used income 

categories which are difficult to make equivalent over time. 

TABLE 1.8:. 1982 CHANGES IN ATTENDANCE RATES BY AGE GROUP 

..... . ~ ~:  ̄ ~ ~ Percentage Point Change 

 ̄ . ::Jazz Classical.:~ Musicalsi Plays.~! Ballet
 

 ̄. : ’ ~:Music: ’l i.~ . ~ :Museums
 

18 - 24 -6 -I +2 -I +3 +I
 

25 - 34 -1 -3 0 -4 0 0 +3 

35-44 +5 -4 0 -5 -2 - 1 +3 

45 - 54 +4 +2 0 +1 +4 +1 +7 

55 - 64 +3 +3 +1 0 +4 +l +5 

65 - 74 +5 +2 + 1 +2 +2 + ! 

75 - 96 +1 -1 0 0 +1 0 +2 

Most of the negative entries in Table 1.8 are in the age categories below age 45. That suggests 

an important trend toward slightly lower participation in these younger age groups. Two points 

need to be made about these differentials. First, they are not large and most are not statistically 

significant. Second, they are often offset by gains in other arts activities. Thus, while 18-24 

year olds do report declines (compared to their 1982 counterparts) in attending jazz 

performances and in reading literature (relative to older population groups), they also report 

above average increases in attending plays and art museums. Similarly, those aged 35-44 (the 

first and oldest "baby-boom" cohort) reported above average gains in attending jazz 

performances and a lower than average decrease in reading literature that offset their above 

average declines in attending performances of classical music and musicals. 

Thus, these data provide some support for the contention that the "baby-boom generation" is 

declining in their levels of arts participation relative to older or younger age groups. It is true 

that the 25-34 age group does show trends that are below average for many arts activities. But 

these differences rarely amount to more than a few percentage points, and they are not 

supported unequivocally by trends in the age cohorts immediately preceding or following them. 

Moreover, it is not clear whether one should be as impressed by the declines in these younger 

age groups as by the increases in the older age groups - particularly for those aged 65-74. This 

group reports a 3 point increase in reading literature, as well as increases in attending jazz, 

classical and musical performances that are above the national norm. Perhaps it is in contrast 

to this active group of recent retirees that the trends in arts participation by baby-boomers seem 

22
 
 

 

somewhat less active. (Unfortunately, with the lack of data on work hours in the study, it is 

not possibly to examine whether this may have played a role in the lower gains by babyboomers or other younger adults.) A more detailed analysis of these age differences from a 

cohort perspective follows. 

Cohort Analysis: An alternative way to examine these age comes from a "cohort analysis" of 

the data in Appendix Tables A.2 and A.3. In the cohort perspective, one compares age groups 

according to the year in which the respondents were born rather than according to their 

chronological age. Thus we compare the 25-34 year old age group in 1982 with the 35-44 

year old age group in 1992: in other ~ords, with the same cohort of people who had aged 10 

years across the period between the two studies. 

Of particular interest in such a cohort analysis is the behavior of the "baby-boom" generation 

born after World War II. This group shares several interesting characteristics: they are 

numerically larger than other age cohorts, they are the first generation raised during the 

television era, and they are currently in the busiest child-rearing and career stage of their life 

cycle. For these reasons, they are seen as an important demographic segment for arts 

participation. Concern has been raised that their lower arts participation may foretell a larger 

decline in arts participation generally. In Table 1.9 we have used the age group 25-44 to 

represent this cohort, given the age categories available for analysis. It should be noted that 

in 1982, some of the baby-boomers, as defined by these age categories, were 15-17 years old 

and, therefore, were not included in the 1982 SPPA. 

TABLE 1.9:1982-1992 COHORT DIFFERENCES IN ARTS ATTENDANCE TRENDS 

(Percentage P0int:Change) 

Cohort Classical Reading Year Born 

(Age in 1993) 

Jazz Music Opera Musicals Plays Ballet Museum Literature 

Post Baby-Boomers NA NA NA NA NA NA NA NA 

1968-1974 (18-24) 

Baby-Boomers -3 -2 +1 -1 +2 +5 

1948-1967 (25-44) 

Depression Era +1 0 +1 - 1 +2 +2 -2 

1928-1947 (45-64) 

Pre-Depression +1 -1 -3 0 0 -! -3 

1927 and Earlier 

(65 and older) 

With respect to baby-boomers in Table 1.9, one finds a greater than average decline in jazz 

attendance between 1982 and 1992: a 3 percentage point decline in contrast to a 1 percentage 

point increase among older cohorts. Baby-boomers also showed a slightly higher decline in 

attending classical music performances and reading literature than older cohorts. These 

declines by baby-boomers are offset by the 5 percentage point increase in the number of visits 

23
 
to art museums. The distinctive arts participation trends in Table 1.9 among baby-boomers are 

less in terms of overall declines than in terms of the trade-offs they have made - from reading 

literature and attending jazz and classical musical performances to attending art museums/ 

galleries. 

Another interesting cohort in Table 1.9 are those in the latter years of retirement, the 65+ age 

group. This cohort shows virtually no change (relative to the younger groups) in their levels 

of arts participation as they have grown older, except for a slightly higher than average decline 

in attending musicals. More detailed examination of the cohort data, however, reveals that this 

lack of change is due to offsetting influences of somewhat increased participation by those 

currently aged 65-74 and somewhat decreased participation by the cohort currently aged 75 and 

older. At the same time, Table 1.8 shows no decline in participation by those aged 75 and 

older in 1992 compared to their 1982 counterparts. 

Further analyses of the age difference data may be performed as part of the research topics 

described in Chapter VII. 

24
 
CHAPTER II. ARTS PARTICIPATION THROUGH BROADCAST AND RECORDED MEDIA
 

This chapter describes the audiences for arts programming through both broadcast and recorded 

media. Section A discusses the size of the general media audiences and Section B 

characterizes differences in the usage of these media for arts content by demographic group.

The questionnaire-items are shown in Appendix B.1. 

The 1982-92 decade saw many technilogical developments in broadcast and recorded media 

that enhanced their quality and the variety of programming available. In addition to improved 

loud speakers and sound technology, broadcast reception was improved by means of digital 

technology. The development of compact disks also improved the quality of audio recordings. 

Increased access to cable TV opened more opportunities for viewing arts programs on 

television. Perhaps most significantly, the increased use of videocassette recorders (VCRs) 

meant greater opportunity for repeated or extended viewings of arts programs that could be 

played almost anytime the viewer wanted. 

In response to this changing media environment, several new media questions were asked of 

respondents in the 1992 SPPA and some of the questions used in previous SPPA surveys were 

modified. The SPPA’92 survey contained additional questions about the viewings of arts 

activities on VCR, and it also asked respondents about the number of viewings of arts activities 

on VCR and television. In SPPA’92, the definition of dance used with the media items was 

also expanded to include not only ballet but also modern, folk, or tap dance. These differences 

between SPPA’92 and the earlier SPPA questions should be kept in mind when making 

comparisons between the results of the different surveys. 

General Usage of Broadcast and Recorded Media Arts 

Programming 

This section describes the public’s involvement through media in various art activities. The 

public’s 1992 levels of usage of these media for arts programs is presented, along with an 

analysis of how the levels have changed since 1982. These media use levels are also compared 

with levels of attendance at live performances. Finally, data on the number of video viewings 

of arts programs are presented. 

25
 
1. 1992 Arts Participation Levels Via Broadcast and Recorded Media 

The rates of participation in the arts via broadcast and recorded media are shown in Table II. 1. 

For example, 22% of those surveyed reported watching a jazz performance on TV or VCR in 

the previous year, 28% reported listening to jazz on the radio, and 21% listened to a jazz 

recording. The second row in Table II. 1 shows that 26% of the respondents reported watching 

classical music performances on video, 31% reported listening to classical music on the radio, 

and 24% listened to a classical music recording. These numbers indicate rather similar media 

audience sizes for the two types of music. The last column in Table II. 1, taken from Chapter 

I, shows the comparable rates of attendance at live performances or exhibitions. 

VIA BROADCAST:AND .RECORDED :MEDIA 

Art Form 

VCR" Performances 

Jazz 21% 4% 22% 28% 21% 11% 

Classical 25 4 26 31 24 13 

Music 

Opera 12 1 12 9 7 3 

Musical 15 4 17 4 6 17 

Play 17 3 18 3 NA 14 

Dance" 19 2 20 NA NA 10 

Visual Arts 32 2 34 NA NA 27 

Entries refer to the proportion of respondents who used either "IV or VCR. 

"Question formats for media and for live attendanc~ are differenL The media question includes ballet, modem, folk, and tap dance. 

The live attendance question combines two questions, one referring to ballet only and one to other dance. 

Arts audiences reached by the broadcast and recorded media are, for most art forms, larger than 

the respective audiences who attend live performances. This is especially true for audiences 

reached by TV and VCR for jazz, classical music, and opera. The audience reach of TV is 

greatest in absolute terms for the visual arts (32%) and lowest for opera (12%) and musicals 

(15%). VCR’s are used primarily for jazz, classical music, and musicals. 

In line with the format of most radio stations, the greatest use of radio is also for classical 

music (31%) and jazz (28%), falling to 4% for musicals and 3% for plays. Similarly for 

recordings, the 24% use for classical music and 21% use for jazz drops to 7% for operas and 

musicals. Thus, classical and jazz music are the main uses for all three media (outside the use 

of TV for visual arts). 

26 
 

Table II.2 translates the Table II.1 percentages into estimated national audience sizes. Thus, 

the number of adults who have seen a video performance of jazz is 40.9 million (22% of 185.8 

million people). As noted above, the audiences for classical music on all three types of media 

(video, radio, and recordings) are about l0 percentage points larger than for jazz, while the 

media audiences for opera, musicals and plays are considerably smaller than jazz media 

audiences. The largest single arts media audience is the 63.2 million viewers of the visual arts 

programs on video. TV and other media audiences are generally much larger than the 

respective numbers attending live performances, with musicals as an exception. 

TABLE II,2:1992 POPULATION ESTIMATES" OF 

BROADCAST ANDRECORDED .:MEDIA. 

’­

 ̄ " .... laeo : I " . " R " " " " [ .... V [ Radm .l-:! ecordings- ] at:Live 

Jazz 40.9 52.0 39.0 19.7 

Classical 48.3 57.6 44.6 23.2 

Opera 22.3 16.7 13.0 6.1 

Musicals 31.6 7.4 11.1 32.3 

Plays 33.4 5.4 NA 25.1 

Dance 37.2 NA NA 18.6 

Visual Arts 63.2 NA AN 49.6 

Participation rate multiplied by the U.S. adult population (185.8 million). 

2. 1992 Viewings of Arts Activities on Video 

Table II.3 presents the total annual number of 1992 viewings of arts-related programs on video ̄ 

For jazz, it can be seen that the average number of video viewings per viewer is about 6, which 

when multiplied by the 40.9 million viewers of jazz programs on TV or VCtL results in more 

than 240 million total annual viewings. In the case of the visual arts, both the large audience 

size and the large number of viewings per person combine to produce a total of more than 500 

million viewings. 

27
 
Classical Music 48.3 6.4 309.1 

Opera 22.3 4.1 91.4 

Musicals 31.6 4.3 135.9 

Plays 33.4 8.0 267.2 

Dance 37.2 6.3 234.4 

Visual Arts 63.2 8.9 562.5 

The new SPPA questions on video viewings not only helps capture that new activity, but also 

represents an expansion of the medium of television. New media technology may be expected 

to produce new media audiences for the arts. 

3. Trends in the Usage of Media for Arts Content: 1982-1992 

Table II.4 shows trend data for the usage rates of different media forms for various arts 

activities. The most dramatic changes are the increases in the sizes of the radio audiences for 

jazz and classical music as well as the increases in TV audiences for visual arts programs. The 

3 percentage point rise in the use of TV for jazz and the 2 point rise in the radio audience for 

opera are the largest of the other increases in the table and both are also statistically significant. 

The decreases of 6 and 9 percentage points in the use of TV for watching musicals and plays, 

respectively, are also statistically significant. The other entries in Table II.4 show little if any 

change in use of the media for arts content over the decade. 

28
 
TABLE II.4: I982;92DIFFERENCES IN:USAGE:OF .... 

::BROADCAST ~RECORDED NIEDIA 

... " FOR~::ARTS RELATEDy.CONTEI~ ;~ 

:U~ge.aate(Pcr~nO ... .,  ̄ . Change from 

i. 1~::i: , :1982:.to t992 (n=5683) . : (n-~2125): :: (n=12~736) 

TV 

Radio 

Record 

18 

18 

20 

17 

18 

19 

21 

28 

21 

+3" 

+10" 

+I 

Classical: 

TV 

Radio 

Record 

25 

20 

22 

24 

21 

21 

25 

31 

24 

0 

+11" 

+2 

Opera: 

TV 

Radio 

Record 

12 

7 

8 

12 

7 

7 

12 

9 

7 

0 

Musicals: 

TV 

Radio 

Record 

21 

4 

8 

18 

5 

7 

15 

4 

6 

-6" 

0 

Plays: 

TV 

Radio 

26 

4 

21 

4 

17 

3 

Ballet: 

TV 16 15 NA NA 

Dance: 

NA NA 19 NA 

Visual Arts: 

"IV 23 25 32 +9" 

The difference is slatistically significant at the 95% confidence level. 

n denotes the sample size. 

These trend data in Table II.4 are shown graphically in Figure 12 for television, Figure 13 for 

radio, and Figure 14 for recordings. Figure 12 shows that the main growth in TV is for visual 

arts programs and jazz, while significant declines are shown in TV use for musicals and plays. 

Figure 13 shows the rather large growth in radio audiences for jazz and classical music. Figure 

14 shows smaller growth in the audience for jazz and classical music on recordings, possibly 

related to the conversion by listeners to compact discs. 

29  ̄ 
 

Arts Participation Through TeleviSion 

1982 to 1992 

11982 

~1992 

0 

Jazz Classical 

Music 

Opera Musicals Plays Visual 

Arts 

Figure 12 

Arts Participation Through Radio 

1982 to 1992 

35 

30 

25 t  ̄ 1982 

20 ~ [] 198s 

!~. 1992 

lO~ 

Jazz Classical Opera Musicals Plays 

Music 

Figure 13 

3O
 
Arts Participation Through Recordings 

1982 to 1992 

11982 

E]~gss 

~1992 

Jazz Clessicei Opera Musicals 

Music 

Figure 14 

Total Audience Size: The increase in the U.S. population between 1982 and 1992 also 

affected the overall sizes of these media audiences for the arts. Table II.5 shows the relevant 

comparisons in arts audience sizes across the decade and puts these changes in somewhat 

broader perspective. In the middle columns of Table II.5, it can be seen that the growth in the 

radio audiences for jazz, classical and opera music is each at least 40%, while the growth of 

TV audiences of visual arts and jazz is 32-37%. The growth of TV audiences for classical 

music is 14%. The growth in audiences for recordings of jazz and classical music is 20% and 

25%, respectively. All of the media audiences for theatrical performances (musicals and plays) 

show net declines over the decade. While the radio audience for opera r~e 49% across the 

decade, usage of TV and recordings for opera content grew less than the 13.3% increase in the 

general population. 

31
 
TABI~E I!’:5: 1982~92PERCENTAGE cHANGES 

~ Art Form Television " Radio:. : 

1982.Media 1992Media 1982Media 1992.Media 

Audien~ Audience Change Audience Audien~ 

29.6 39.0 +32% 30.4 52.0 ÷711% .. 32.4 39.0 :÷20% 

Classical 

Music 

40.8 46.5 +14 

" 

36.0 57.6 +60 35.6 44.6 ÷25 

Opera 20.9 22.3  ̄+7 ̄ I 1.2 16.7 +49. i.  ̄, |-2.5 13.0 

Musicals 29.8 27.9 -6 : 8.3 7.4 .~I1 13.0 11.1 

Plays 36.5 31.6 ~13 ! 6.4 5.6 i:;13 ’ NA NA 

Dance NA 55.3 NA.. i NA NA .:~.:.i NA NA 

Visual 43.3 59.5 +37 ! NA NA NA NA 

Ans 

Table II.5 reinforces the important growth of radio audiences for jazz, classical music, and 

opera since 1982, in contrast to radio broadcasts of musicals and other theater productions. 

The growth in TV audiences for visual arts programs is also impressive, but the medium of 

radio is where most of the growth in arts audiences is found. 

B. Arts Media Audiences by Demographic Factors 

In general the demographic correlates of using the media for arts programming shown in 

Appendix Table B.2 are much the same as they are for attending live performances and events. 

Education \vas the major factor related to usage of the broadcast media for the arts, followed 

by income differences that were largely a function of education. Women, whites, and middleaged people were more likely than men, minorities, and young or elderly people to use the 

media for arts, but these differences were much smaller and less consistent than for education. 

At the same time certain of these differences in media audience characteristics by 

demographics were larger or smaller than others. For example, 

Similarly, the biggest gender difference in arts media use between men and 

women occurs for men’s higher attending to jazz programs. Women watch 

more dance programs on TV, but otherwise male-female differences are minimal 

The main racial differences occur for attending to media jazz programs among 

blacks and to classical music among other racial groups. Otherwise there are few 

differences in the use of the media for arts programs among whites and blacks. 

32 
The most pronounced ggg. differences are found in the high rates of watching 

classical music on TV among 55-64 year olds, and the small differences in 

listening to classical music and musicals on recordings and listening to musicals 

and plays on radio. 

Although evident for all arts media use, educational differences were particularly 

large for listening to classical music on radio and recordings and were smaller 

for watching "IV dance programs. 

Rates of arts participation via broadcast and recorded media were higher for 

higher income respondents than for lower income respondents. The effect of 

higher income was weaker than the effect of higher educational level. Both 

conclusions also apply to attendance at live arts performances and events. High 

income people were also more likely to listen to classical music on radio and 

on recordings and to watch dance on TV. 

1. 1982 and 1992 Demographic Differences in Arts Media Participation 

Appendix Tables B.2 and B.3 show, respectively, the 1992 and 1982 usage rates of broadcast 

media for arts programming by demographic group. Appendix Table B.4 shows the differences 

between these rates. These tables show that the 1992 correlations of arts media usage with 

demographic factors were very similar to those found in the 1982 study. In general, there were 

fewer significant changes in the composition of the arts media audiences than there were for 

live arts audiences during this decade. 

Among the more noteworthy trends in Appendix Table B.4 are the following: 

Gender differences remained fairly constant, with a relatively greater decline in 

the rate of viewing of opera programs on TV among women. 

The racial composition of the arts media audience changed only slightly over the 

decade. Blacks reported a greater increase than whites and other races in TV 

viewings of jazz and a smaller decrease in TV viewings of plays. However, 

blacks also reported smaller gains than whites both for radio listenings of 

classical music and for TV viewing of visual arts programs. 

The major change in the a_g.g profile of the arts media audiences is the greater 

arts media usage among older groups. Among those aged 65 and older, this 

trend is found for TV audiences of jazz, classical music, and dance. For radio 

audiences of jazz, classical music and opera, this trend is true for those aged 45 

and older. For TV plays and musicals there is evidence of a greater decline 

among those under age 55 than for those 55 and older. 

The most interesting and consistent changes in the usage of media are those that 

involve educational level. The main gains in listening to jazz and classical 

33 
music on the radio occurred among those with at least a college education. The 

main gains in TV viewing of opera also were in thisgroup. On the other hand, 

the main declines - both in TV viewings of musicals and plays and listenings 

to recordings of musicals - are found among the college educated as well. Put 

another way, the college educated are the vanguard groups for both increases 

and declines in arts participation through the media. 

A similar pattern emerges for income. The main increase in radio listening to 

jazz, as well as the major declines in TV viewings of classical music, operas, 

musicals and plays (and listening to recordings of musicals) occurred among the 

higher income groups. As noted earlier, these data have not been adjusted to 

reflect inflation between 1982 and 1992. 

2. Readings of Poetry and Novels 

In addition to media questions related to the arts, two new SPPA questions examined readings 

of poetry and novels. These were combination "live-media" questions in that the respondents 

were asked about listening to such readings done "either live or recorded." No follow-up 

questions were asked about the frequency of such readings. 

Some 9.1% of SPPA’92 respondents said they listened to a live or recorded poetry reading and 

7.6% had listened to a live or recorded reading of a novel. That represents about 17 million 

and 14 million people, respectively. As shown in Appendix A.2, the demographic 

characteristics of poetry and novel listeners are much the same as those for other arts activities, 

with education differences predominating. 

34
 
CHAPTER III. PERSONAL PARTICIPATION IN 

THE ARTS 

Chapters I and II have analyzed the public’s participation as spectators at arts performances 

and events. People also can participate in the arts more directly, both by personally performing/ 

creating and by taking classes and lessons in the various arts. Not surprisingly, the number 

of such arts participants is much smaller than the number of arts spectators - either for live 

performances or for media programs. Nonetheless, personal arts participation does involve 

millions of American adults. 

Section A describes such participation in the arts through personal performance and through 

involvement in various arts/crafts activities. Section B describes how people participate in the 

arts by taking art classes and lessons. The relevant questionnaire items for these activities are 

shown in Appendix C. 

A. Personal Performances and Arts/Crafts Activities 

This section describes participation in the arts through personal arts performances and 

involvement in various arts/crafts activities. The 1992 levels of personal arts participation are 

presented, as well as changes in personal participation in the arts across time. In addition, 

personal arts participation levels that involve public performance or display are distinguished 

from personal arts participation levels for the activity in general. 

1. 1992 Personal Participation in the Arts 

Table III. 1 shows performance rates for several arts activities. Separate frequencies are shown 

for respondents who performed in public and for respondents who engaged in the activity only 

in private. Thus, Table III. 1 shows that 1.7% of respondents played jazz music in the previous 

year, which translates into 3.2 million American adults. Somewhat less than half of these 3.2 

million (1.3 million) played jazz in a public performance. The number of people who had 

played any classical music was nearly double that for jazz (7.8 million); however, the number 

of people who had played classical music in a public performance was only about 30% larger 

(1.7 million) than the number who had performed jazz in public. The number of people who 

had sung opera music either publicly or privately was less than half than the number of people 

who had personally played either classical music or jazz music. In this way, the relative 

performance levels for these types of music large.ly mirror the sizes of the respective attendance 

and media participation levels for jazz, classical music, and opera. 

35 
Type.::of Participation 

Music/Art Play Jazz 1.7% 3.2 0.70% 1.3 

Performances 

Play Classical 4.2 7.8 0.90 1.7 

Music 

r 

Sing Opera 1.1 2.0 0.24 0.4 

Sing Musical 3.8 7.1 0.73 1.4 

Sing Choral NA NA 6.3 11.7 

Act NA NA 1.6 3.0 

Ballet .2 .4 0.03 0.1 

Modem Dance 8.1 15.0 1.2 2.2 

Art/Crafts Pottery 8.4 15.6 1.7 3.2 

Needlework 24.8 46.1 2.4 4.5 

Photography 11.6 21.6 1.7 3.2 

Painting 9.6 17.8 2.0 3.7 

Writing 7.4 13.7 0.9 1.7 

Composing 2.1 3.9 0.7 1.3 

Purchasing Art Works 22.1 41.1 NA NA" 

"NA indicates the question was not asked or is not applicable. 

At the same time, all of these personal performance levels are dwarfed by the number of 

people who had sung in a choir or glee club performance in public (6.3%, I 1.7 million adults). 

Moreover, the proportion of people who reported that they had acted in a public performance 

(1.6%) was more than double the average of the public performance rates of the four main 

music types. Performance in modern/other dance revealed a similar pattern in that 1.2% of the 

respondents (2.2 million adults) reported having taken part in a public modern/other dance 

performance while 8.1% reported that they had engaged in such dancing either publicly or 

privately. The performance numbers for ballet (0.2% overall participation, 0.031% in public 

performances) are also reported. 

The personal participation levels for various arts/crafts activities in the lower part of Table III. 1 

were generally much higher than those for these musical and performance arts activities. This 

was particularly true for needle crafts (weaving, crocheting, etc), in which 24.8% of the 

respondents (46.1 million adults) reported having engaged in such an activity during the 

36
 
previous year. Moreover, an estimated 4.5 million adults, or one-tenth of those who reported 

personally doing needle crafts, were involved in some type of public display of their needle 

crafts. Of those who reported that they had painted, taken photographs, or made pottery/other 

crafts, the overall percentages who had displayed their work publicly were, respectively, 2.0%, 

1.7%, and 1.7%. About 1.5 million adults (0.8% of the adult population) had either some of 

their creative writing published or one of their musical compositions performed in public. 

Indeed, the number of people who reported having one of their music compositions played in 

public was almost as large as the number of people who played jazz or classical music in a 

public performance - shown in the top part of Table III. 1. 

Finally, in terms of participation via the marketplace for arts objects, more than a fifth of the 

SPPA respondents (22.1%, over 40 million adults) said they owned an original work of art; a 

third of those (13.3 million) said they had purchased or acquired an original piece of art the 

previous year. 

2. 1992 Demographic Differences in Personal Arts Participation 

Performance Activities: As shown in Appendix C.2, education plays the major role in 

predicting differences in having personally performed in arts activities, with income 

differences appearing only for playing classical music or singing operettas or musicals. 

Notable demographic differences in personal arts performances include: 

Women are slightly more likely than men to play classical music, sing musicals, 

sing in a choir or dance in a ballet. 

Black people are more likely than whites or other racial groups to sing in a choir 

or act in a play. 

Except for opera and musical singer, younger age groups are more likely than 

older age groups to have performed in an arts activity. 

Educational differences are quite large for most arts activities, but small for 

dance and ballet performance, and for acting in theater. 

Non-Performance Activities: 

In general, the largest differences in personal arts participation in the second part of Appendix 

Table C.2 are found by education and then by income. Important differences by age and race 

are also evident. Among the differences in personal arts participation by demographic groups 

are" 

Men are slightly more likely than women to compose music and do art 

photography, while women are far more likely to do needlework. 

37 
Whites are more likely than blacks or other races to do needlework, paint, 

compose music, and own a work of art. 

Younger age groups personally participate more than other age groups in 

painting, ci’eative writing and composing music. The 25-34 year old age group 

participates more than other age groups in pottery/other crafts and photography.

Older people do more needlework than other age groups and the middle-aged 

are more likely than others to own a piece of art. 

Educational differences are strong for all activities, except for pottery/other 

crafts and needlework. 

Income differences appear only for photography and owning art works. 

3. Changes in Personal Participation in the Arts Across Time 

Since many of the personal performance questions were asked for the first time in 1992, it is 

not possible to detect changes in participation since 1982. However, responses to questions 

that could be compared are arrayed in Table III.2 for the 1982, 1985, and 1992 SPPA surveys. 

These include the public performance questions for music-theater-dance and the general 

participation questions for non-performance arts activities. 

In the case of the public-performing arts activities, the results are quite stable across the 10 

year time span, given the very low levels of participation (generally less than 1%). There are 

increases in singing in a public opera performance, and, in contrast, there are decreases in 

singing in public musical/operetta performances and in dancing in a ballet performance. The 

large increase since 1982 in acting in a live stage performance could be due to a change in the 

question format. 

Overall stability also is in evidence for more general participation in non-performance 

activities. Indeed, the personal participation levels in 1992 in photography, painting, and 

creative writing are virtually identical to those for 1982 and 1985. There were notable declines 

in the first two "crafts" activities in Table III.2, showing a 4 point decline in pottery/ 

leatherwork type activities and a 7 point decline in weaving/crocheting type activities. 

Participation in these two activities has declined by about 20% since the 1980s. 

38
 
 ̄
 Activity 

Public Music Play Jazz 

Performances 

Play Classical Music 

Sing Opera 

Sing Musicals 

Sing Chorale 

Public Theater Act" 

~erformances 

Public Dance Modern/Other 

Performances 

Ballet 

Arts/Crofts Pottery 

Activities Needlework 

(Total Photography Participation) 

Painting 

Creative Writing 

Composing Music 

"Change in question fomaaL
 

"’Statistically significant at the 95% confidence level.
 

""NA indicates the question was not asked.
 

1982 

0.78% 

0.90 

0.08 

0.89 

NAooo 

0.77 

NA 

0.13 

12.0 

32.0 

i 1.0 

10.0 

7.0 

NA 

1985 

0.68% 

0.85 

0.04 

0.83 

NA 

0.81 

NA 

0.12 

11.0 

28.0 

10.0 

9.0 

6.0 

NA 

0.70% 

0.90 

0.24 

0.73 

6.30 

1.60 

1.20 

0.03 

8.4 

24.8 

11.6 

9.6 

7.4 

2.1 

-0.08 

0 

+0.16 

-0.16 

NA 

+0.83 

NA 

-0.10 

-3.6"" 

-7.2"" 

+0.6 

-0.4 

+0.4 

NA 

39
 
B. Art Classes and Lessons 

In addition to personal performance, people learn about and participate in the arts through 

various classes and lessons. The 1992 SPPA survey inquired about such classes and lessons 

for the eight types of activities shown in Table III.3. The questions are shown in Appendix 

Table C.3. The data represent respondents who had taken such classes at any time in their 

lives. 

TABLE III.3: LIFETIME PARTICIPATION IN ARTS CLASSES/LESSONS 

Participation Levels " 

Class/Lesso~ .... ::!!" " ..... 1992 

:.Percent :: .Percent 

Music 47% 47% 40% 74.3 -7" 

Visual Arts 24 25 18 33.4 

Acting/Theater 9 10 7 13.0 

Ballet 7 8 7 13.0 0 

Modern/Other Dance NA’" NA 16 29.7 NA 

Creative Writing 18 18 16 29.7 -2 

Art Appreciation 20 19 23 42.7 +3" 

Music Appreciation 20 20 18 33.4 -2 

* Shatistically significant at the 95% confidence level. 

"’NA indicates the question was not asked. 

It can be seen that almost 40% of the SPPA’92 respondents (representing more than 74 million 

adults) said they had taken music lessons at some time, and about 18% had taken classes in 

painting and the other visual arts. About 7% had taken acting or ballet lessons, and 16% had 

taken lessons in modern/other dance and in creative writing. Finally, about 23% had taken 

classes in art appreciation and 18% had taken classes in music appreciation. 

The right-hand column of Table III.3, shows that these levels are generally down slightly from 

the levels reported in the 1980s. Only attendance at art appreciation classes showed an increase 

over 1982 levels. 

40
 
Demographic Differences in Participation in Arts Classes 

Education and income are the main predictors of having taken arts lessons or classes, but 

certain age and gender differences can be seen as well. Among the notable demographic 

differences in Appendix Table C.4 are: 

Women are much more likely than men to have taken ballet or dance lessons, 

and to a lesser extent music lessons. 

Whites are more likely than blacks or other races to have taken arts classes or 

lessons, especially music lessons and dance lessons 

The youngest age group (aged 18-24) is more likely than any other age .group 

to have taken any type of arts lessons, except for dance and music appreciation 

which are fairly constant across age groups. 

Educational is associated with the most significant differences in taking all types 

of arts lessons. 

Income differences are almost as large as education differences in predicting 

participation in many of these arts classes. 

41
 
CHAPTER IV. COMPARISONS OF TYPES OF ARTS
 

PARTICIPATION
 

This chapter compares levels of arts participation across the three type of arts participation 

defmed in the preceding chapters: (1) attendance as a spectator at live arts performances and 

events, (2) participation by watching or listening to arts programming through broadcast media 

and recordings, and (3) participation by personal direct performance. Section A presents the 

comparison of the levels of arts participation in 1992, and Section B shows how trends in 

participation in other leisure activities compare to the trends in arts participation in general. 

The leisure participation items on the SPPA’92 questionnaire are shown in Appendix D.1. 

A. Different Types of Arts Participation: 1992 

Although the personal performance levels are far lower than the spectator levels, certain 

patterns in levels across the various arts forms can be detected in Table IV.1. For instance, 

the audience for classical music is consistently slightly larger than the jazz audience, which in 

turn is larger than the audience for opera. For all these three types of music, this is a 

consistent pattern. However, participation in musicals is quite different. Attendance at live 

performances of musicals is higher than for attendance at classical music performances, but 

participation in musicals through the media is lower than for classical music, and personal 

participation in musicals is almost the same as personal participation in classical music. 

Both the live and video/radio audiences for non-musical theater and those for musicals were 

found to be roughly equivalent in Chapter II. However, the estimated number of live public 

performers as actors reported in Chapter III is more than twice as large as for musicals. 

The size of the audiences for live and video performances of modern/other dance is, in turn, 

roughly the same as for theater, and the number of dancers in public performances (1.2%) is 

about half-way between those who sung in a musical production (.73%) or who acted in a 

stage play (1.6%). However, 8.1% of respondents reported engaging in some form of modern/ 

other dance. That is many times larger than the numbers who did ballet dancing, either in 

public or private; at the same time, the audience for live modern/other dance is 50% larger than 

it is for live ballet performances. This suggests that respondents may have included social 

dancing in their responses concerning modern/other dancing. 

42
 
Music Jazz 11% 22% 28% 21% 1.7% 0.7% 

Classical 13 26 31 24 4.2 0.9

Opera 3 12 9 7 I. 1 0.24

Musicals 17 17 4 6 3.8 0.73

Theater Acting/Plays 14 18 3 NA NA 1.6 

Dance Modem/Other 7 20 NA NA 8.1 1.2

Ballet 5 NA NA NA 0.2 0.03

Visual Art Museums 27 34 NA NA 9.6 2.0

Arts and Painting 

Creative Literature 54
 NA NA NA 7.4 0.9

Writing
 Poetry 9 NA NA NA NA NA 

Novel 8 NA NA NA NA NA

The visual arts show the highest levels of any of the above arts for each type of participation ­

34% viewing on TV or video, 27% attendance at an art gallery/museum, 9.6% selfparticipation, and 2% showing in public displays. On all types of participation, the visual arts 

emerge higher than for music-theater-dance. At the same time, that would not be the case if 

various musical and theater performers were combined into a single category as the visual arts 

were. 

Not shown in Table IV.1 is the percentage of respondents (54%) who read literature (novels, 

short stories, poetry, and plays), a rate that is double the attendance rate at art galleries (27%). 

However, the percentage rate of those who personally engage in creative writing (7%) and the 

number of writers who had their writings published (less than 1%) was lower than the number 

of visual artists (10%) and lower than the number of publicly displayed artists (2%). 

43
 
B. Participation in Other Leisure Activities 

An important issue in interpreting the above changes in levels of arts participation at live 

events is how these trends compare to trends in other leisure activities, activities which may 

be seen as alternative ways to spend leisure time. Ten of these other leisure activities are 

shown in Table IV.2 in comparison with arts participation in general, which is shown in the 

first row of the table. More detailed data can be found in Appendix D.1. Participation in 

these other activities can be compared to arts participation in general, which is shown in the 

first row of the table. 

.Percent Percent  ̄ Percent.  ̄ (Millions) .... 

Arts Participation* 39% 39% 41% 76.2 

Exercise 51 57 60 111.5 

Movies 63 59 59 109.6 

Gardening 60 55 55 ! 02.2 

Amusement Parks 49 45 50 92.9 " +1 

Home Improvements 60** 58** 48 89.2 NA 

Active Sports 39 41 39 72.5 0 

Sports Events** 48** 50** 37 68.7 NA 

Outdoor Activities 36 37 34 63.2 -2 

Volunteer/Charity 28 30 33 61.3 +5 

TV Hours/Day 3.0 2.8 3.0 0 hours 

* Defined as attendance at one of the seven benchmark arts activities in Chapter I 

** Questions asked in 1982 and 1985 were different from questions in 1992. 

*** Statistically significant at the 95% confidence level. 

In regard to trends in these other leisure activities, the most notable increases show up for 

jogging and other forms of exercise (up 9 points from 1982 but only 3 points from 1985) and 

in volunteer/charity work (up 5 points since 1982). Other leisure activities, however, show 

decreases, such as the declines of 4 to 5 points found for attending movies and for gardening. 

44
 
Roughly equivalent levels-of participation across time were found for going to amusement 

parks, participating in active sports (although down 2 points since 1985) and participating in 

outdoor activities. There was no change in the dominant leisure activity, TV viewing.

Previous studies (e.g., Robinson 1991) show that "IV watching consumes almost half of all 

leisure time and that it is a major competitor with arts participation in the sense that people 

who watch more "IV participate less in the arts (Robinson, 1987). Analysis of the present data

reaffirm both findings. 

1. Comparison of Arts Participation to Participation in Other Leisure Activities 

When compared with the participation rates of the other leisure activities, it can be seen that 

the overall arts participation rate in benchmark activities falls in the middle, with about half 

of the leisure activities having higher participation rates and half of the leisure activities having 

lower participation rates. Table IV.2 shows that this relation is found in both 1982 and 1992. 

Nonetheless, the relative standing of arts participation with respect to the other types of leisure 

participation improved between 1982 and 1992. The last column in Table IV.2 shows that of 

the 8 comparable other leisure activities, the participation rates of 3 declined, 2 showed no 

change, and 3 showed an increase. 

A number of other patterns in Table IV.2 also reflect this improvement. In 1982, six of the 

other leisure activities had higher participation rates than the participation rate in benchmark 

articles activities and three of them had lower participation rates. In general, the differences 

between the higher participation rates and the arts participation rate became considerably 

smaller between 1982 and 1992. Three of the six higher participation rates remained higher 

in 1992 but showed relatively smaller differences than 1982 differences (going to the movies, 

home improvements, and gardening). Table IV.2 shows a similar situation for sports events 

and home improvements, but the fact that different questions were asked prevents valid 

comparisons. Only the rates for participation in exercise and in volunteer/charity \york 

increased more than the rates for arts participation. 

In general, the slight gain in arts participation since 1982 stands in contrast to other leisure 

activities, which have either declined or have remained steady over time. 

45
 
2. Demographic Differences in Participation in Other Leisure Activities 

Even for these non-arts activities, education and income play the most important role in 

predicting differences in participation. Some interesting age differences are also evident. The 

data are shown in Appendix D.1. Some notable demographic correlations include: 

Men are more likely than women to attend sports events, play sports and do

home improvements, whereas women are more likely to garden and watch TV. 

Blacks watch more TV than whites or other racial groups, but are less likely to 

do each of the other leisure activities than whites. 

The youngest age group (age 18-24) is more likely ~an any other age group to 

go to movies, sports events, and amusement parks - and to exercise, play sports, 

and engage in outdoor activities. Middle-aged people are more likely than other 

age groups to be involved in volunteer/charity work, home improvement 

aetivities and gardening. People past the age of 65 are the heaviest TV viewers 

and middle-aged people watch TV the least. 

Educational differences are large for all activities, with one of the most 

noticeable differences being the low TV viewing of the better educated. 

For many activities, income differences are as large as differences by education 

level. 

46
 
CHAPTER V. ARTS ATTITUDES AND PREDISPOSITION 

TO THE ARTS 

As in 1982 and 1985, SPPA’92 included supplementary sets of questions about Americans’ 

attitudes related to the arts. Responses to two such sets of questions are reviewed briefly in 

this chapter. Section A presents data reflecting respondents’ interests in attending more 

performances and section B characterizes respondents’ preferences for various types of music. 

The relevant questions are shown in Appendices E.1 and E.3. 

A. Interest in Increased Attendance 

Table V. 1 shows the proportions of SPPA respondents expressing an interest in attending more 

arts performances than they currently do. In the first column of Table VI. 1, it can be seen that 

these levels of interest in additional participation are very much in proportion to current 

attendance levels. Thus, 38% express an interest in going to more visual arts venues, 36% in 

attending more performances of musicals, and 34% in attending more plays. These are the 

three benchmark activities with the highest levels of attendance in Table 1.1. Similarly, the 

lowest rates of increased interest are found for opera and ballet, the art forms with the lowest 

participation levels. Some 29% of respondents expressed no interest in attending more 

performances of any of these art forms. 

TABLE V.l: DESIRE TO ATTEND MORE ARTS PERFORMANCES 

Activity 1982 1985 1992 Change from 

Percent Percent Percent :Number in :Millions 1982 to 1992 

Jn77 18% 19% 25% 46.5 +7" 

Classical Music 18 16 25 46.5 +7. 

Opera 7 8 11 20.4 +4" 

Musicals 33 29 36 66.9 +3" 

Plays 25 23 34 63.2 +9" 

Ballet 12 12 18 33.4 +6" 

Dance NA °° NA 24 44.6 NA 

Art Museums 31 31 38 70.6 +7" 

"’Statistically significant at the 95% confidence level. 

"’NA Questions were not asked in 1982 and 1985. 

47
 
At the same time, these levels of interest in increased participation are notably higher in 1992

than in the 1980s for all seven activities. This is most particularly the case for attendance at 

plays, art museums/galleries, classical music concerts and jazz performances - again, the 

activities with currently the highest attendance levels. 

Demographic Differences in Increased Interests in Arts Attendances 

The desire to attend more arts performances shares the same demographic correlates in 

Appendix Table .E.2 as those associated with actual attendance. These correlates include: 

Except for jazz, women expressed more interest than men in attending more 

performances of every arts activity - especially ballet and dance performances. 

Except for jazz and dance, whites expressed more interest than blacks in 

attending more performances of each arts activity. 

Older to middle-aged people expressed greater desires than any other age group 

to attend more arts performances and events of every arts activity except for jazz 

and dance. The highest interest in attending more jazz performances was 

expressed by those aged 18-24, and increased interest in attending more ballet 

performances was rather uniform across age groups. 

Greater interest in increased attendance at all arts activities was found for each 

higher level of education, peaking for those with a graduate degree. 

Greater interest in increased attendance at all arts forms was found for those 

with higher levels of income - but at a lower level than for those with graduate 

education. 

B. Music Preferences 

Further insight into the importance of the arts relative to other leisure interests come from the 

SPPA questions on music preferences. This question was extended in the 1992 SPPA to 

include eight new types of music and the earlier SPPA category "Soul/Blues/R&B" was 

separated into "Soul" and "Blues/R&B". The proportions of the SPPA sample saying they 

"liked" each of the 20 types of music are shown in Table V.2. 

48
 
" TABLE V.2: ~ ~MUSIC i PREFERENCES
 

(Percent of th~ Adult Population: Liidfig Ea~lt Type~of M~i¢)
 

Music Type 

Percent Percent :Percent 

Classical/Chamber 28% 30% 33% 

Opera 10 10 12 

Show Tunvs/Opervttas 23 24 28 

Jazz 26 30 34 

Reggae NA"" NA 19 

Rap NA NA 12 

Soul’* 24 

Blues/R&B** 

26 33 

4O 

Latin/Salsa NA NA 20 

Big Band 33 32 35 

Parade/March NA NA 18 

Country-Western 58 53 52 

Bluegrass 25 24 29 

Rock 35 42 44 

Ethnic/National NA NA 22 

Folk (Contemporary)" 25 25 23 

Mood/Easy 48 52 49 

New Age NA NA 15 

Choral Glee Club NA NA 14 

Hymns/Gospel 36 40 38 

Statistically significant at the 95% confidence level. 

"’The wording of the question was changed between 1985 and 1992. 

""NA Questions were not asked in 1982 and 1985. 

Number.in Millions 

61.3 

22.3 

52.0 

63.2 

35.3 

22.3 

44.6 

74.3 

37.2 

65.0 

33.4 

96.6 

53.9 

81.8 

40.9 

42.7 

91.0 

27.9 

26.0 

70.6 

Change from 

1982 to 1992 

+5" 

+2" 

+5" 

+8’ 

NA 

NA 

NA 

NA 

NA 

+2 

NA 

-6" 

+4" 

+9" 

NA 

-2 

+.1 

NA 

NA 

+2 

In the fourth column of Table V.2, it can be seen that more respondents (52%, which translates 

into more than 96 million adults) liked country-western music than any other type. Mood/Easy 

Listenilag music was second on the list (49%) and rock music third (44%), followed by blues 

(40%), hymns/gospel (38%), and big-band (35%). Classical music (33%), jazz (34%), and 

49
 
show tunes (28%) were more in the middle level of these music preferences while opera was 

liked by 12% of respondents. 

The second part of Table V.2 shows that classical music, jazz, and show tunes are gaining 

more in popularity than Other types of music (except rock music). Classical music and show 

tunes are up 5 points over 1982 levels (also true for bluegrass music), and jazz shows the 

greatest increase of any type (except rock music) at 8 points above 1982 levels. Countrywestern music declined the most (6 points), but declines are found as well for folk music and 

for mood music. 

The trends suggest that while classical music, jazz, and show tunes have a smaller than average 

base audience, they are becoming more popular than other types of music. Preliminary 

analyses reveal that these increases do not result simply from replacement of older, lesseducated people with less liking of these types of music. Rather, the increases reflect increased 

liking of these types of music among middle-aged people. Therefore, it is not clear whether 

future substantial increases in these music preferences should be expected. 

Demographic Differences in Music Preferences 

Music preferences had the familiar pattern of demographic correlates in Appendix Table E.2, 

but varied more by age, race and gender for certain types of music. Demographic patterns in 

music preferences are noted below: 

Women expressed more liking for opera and musicals than men did, while 

greater male preference was evident for blues and rock music. 

Whites expressed more liking for all types of music than blacks did, except for 

jazz, soul, and blues music. The white-black differences were greatest for 

country music and for rock music. Those of other racial background expressed 

a higher liking of classical music and opera than white respondents did. 

Those aged 55-74 expressed the greatest appreciation for classical music, opera 

and musicals. This group also expressed the greatest appreciation for big band 

and mood music. The greatest liking for country-western and folk music was 

expressed by those aged 45-54. For jazz and blues the greatest liking was 

expressed by those aged 35-44, and for rock music by those aged 18-24. 

Those with more education expressed a greater preference for all types of music, 

with the exception of country music. 

Respondents in the highest income group had a higher preference than any other 

income group for all types of music except country-western. However, 

respondents with the highest income were not as appreciative as respondents 

with the most education - except for folk, rock and mood music. 

50 
C. Parental Education 

The 1992 SPPA asked questions about the educational level of the respondent’s parents. 

Throughout this report, we have seen that education is the major predictor of arts participation. 

In Table V.3, it can be seen that almost 20% of the SPPA’92 respondents reported growing 

up in a family where the mother or the father had some college education. About 10% of these 

parents had a college degree - 12% of the fathers and 8% of the mothers. However, that was 

less than the nearly 15% who reported their parents had not finished primary school, and 

almost a third who reported they had not completed a high school education. 

It can be seen that there were gains in parent’s educational levels since 1982. The proportion 

of respondents whose mothers had at least a high school diploma increased from 45% in 1982 

to 56% in 1992; the proportion of respondents who had a father with at least a high school 

diploma increased from 38% to 49%. As can be seen, little of this gain was at the college 

level. The proportion of parents who attended college (whether or not they graduated) 

increased only 1 percentage point for mothers and decreased 3 percentage points for fathers. 

Table V.3 Shows that both questions on parental education are strongly related to arts 

participation in the 1992 survey. In terms of the average attendance rate for at least one 

benchmark arts activity in 1992 (41%), Table V.3 shows there is a differential of 47 percentage 

points between respondents whose parents had graduated from college (72-73%) versus 

respondents whose parents had not completed elementary school (25-26%) 

After MCA adjustments for respondents’ level of education, age, and income, most of these 

differences are explained. Nonetheless, parental education remains a significant predictor of 

arts participation. 

TABLE V.3: HIGHEST EDUCATIONAL A’VrAINMENT OF PARENTS 

Highest Education Level of Highest Education Level of 

:~ Mother ~ " ., ~::i.: ~ Father
 

Educational..Levei [ " "
  ̄ 1992 Arts " " ! :1 :::. :, :1 , 1992 Arts 

 ̄ .: .:i:1i982.1:~i: /:::1992 ii~i]:.:ilParticipation~.i.~:~" i1982:::~i: !.1992~.:::Participation  ̄ ! Rate l " Rate
 

0-7 Grade
 16% 13"/, 25% 19"/, 15"/, 26%
 

Grade School Graduate 12
 9 38 13 10 37
 

Some High School 11 9
 33 I0 8 37
 

High School Graduate
 31 39 47 21 30 46
 

Some College 7
 9 65 6 7 63
 

College Graduate 7
 8 72 11 12 73
 

Don’t Know
 16 13 17 16 18 24 

51 
CHAPTER VI. RELATED RESEARCH 

Insights from 12 Local Arts Participation Surveys 

Further insight into the nature of American’s arts participation can be found in a 12-community 

study recently commissioned by the Research Division of the National Endowment for the 

Arts. The research involved two major components: (1) the administration of an arts 

participation survey to randomly selected households in each community (the survey examined 

facets of arts participation not examined in the SPPA’92 national survey) and (2) the 

investigation of the "supply" of local arts programs and facilities in the community. Survey 

results for each site were then analyzed in the context of local arts activities, examining the 

varied cultural texture behind the statistics. 

The surveys were conducted by telephone over a three-month period from mid-February to 

mid-May 1992 by Abt Associates. Approximately 400 respondents were interviewed in each 

of 11 sites, and 600 were interviewed in Philadelphia. AMS Planning & Research Corp. of 

Southport, CT conducted complementary research into local arts activity levels and prepared 

a summary report (AMS/NEA 1993). 

The 12 local surveys were undertaken to build a better understanding of variations in arts 

participation patterns between different communities and to provide local sponsors with 

valuable information about their areas. Each local survey consisted of three components: 

A "Core Questionnaire", common to all 12 sites - including arts participation 

and demographic information identical to the 1992 national SPPA 

A set of questions, common to all sites but not included in the 1992 national 

SPPA, concerning facilities where arts participation occurred, reasons for not 

attending more often, and sources of information about arts events. 

Community-specific modules, developed by the local partners to address specific 

information needs in each community. 

The 12 communities varied widely in geography and size, from Sedona, Arizona (population 

27,000) to Philadelphia, Pennsylvania (4.9 million), and in terms of arts offerings available to 

the public. Some highlights and examples of results from the 12-city study include: 

"Traditional" venues (i.e., concert halls, theaters, etc.) were used exclusively for 

’Opera’ (95%) and ’Ballet’ (90%), and about 10% of all classical music 

attenders reported attending a ’Church or Synagogue’, underscoring the 

important role of these facilities in the performing arts delivery system. AfricanAmerican and Hispanic respondents used concert halls and opera houses less 

frequently than whites. 

52 
An overwhelming majority of respondents gets information about arts events 

from the print and broadcast media (84%, includes ’Newspapers’, ’Television’, 

’Radio’ and Magazines’). Much smaller percentages obtain information through 

word of mouth (24% ’Targeted Appeal (16%), and ’Other’ (15%). As education 

levels rise so does usage of the media for arts information, and more educated 

and wealthier respondents are more likely to get arts information from 

’Mailings/Flyers’. 

Among those who would like to attend arts events more often, 61% cited one 

reason - "Don’t have time". The next two most frequently cited reasons related 

to cost- "overall cost of going to events" (20%) and "cost of tickets" (19%). 

Ten percent or fewer of respondents cited any other reasons. These findings are 

generally consistent with results of earlier SPPAs. "Social/personal barriers’ 

(especially "No one to go with") were reported to be more important reasons for 

not attending more often for Pittsburgh and San Jose/Santa Clara County 

respondents, two communities with a high proportion of single households. 

Participation rates in certain cities seem to be linked with a particular arts 

institution or even a particular production. For example, Sedona’s popular Jazz 

on the Rocks festival clearly impacts the area’s jazz participation rate, with 36% 

of jazz attenders in Sedona reporting attending a "Park or Other Open-Air 

Facility." Pittsburgh’s Three Rivers Art Festival, a 17-day annual event of free 

events in the downtown area helps explain the area’s high participation rate for 

’Arts/Craft Fairs or Festivals’ (55%). 

Demographic correlates of arts participation were similar to those found in the 

SPPA analysis, with attained educational level being the main predictor of arts 

participation. Nevertheless, there are notable differences across communities 

depending on the "supply" of arts in that community. 

Results of this study, then, suggest that supply and demand for arts activity do not always have 

a traditional relationship in the economic sense, but may stimulate each other to achieve higher 

participation levels. In other words, arts programs are not offered solely in response to 

demand, but in some cases can stimulate demand. Where high participation rates were 

observed, there was also high interest in attending those types of events more often, much as 

found in Chapter V. If participation breeds additional interest, then to a degree, supply can 

stimulate additional demand and a spiraling effect can occur. Continued parallel research at 

the local level then can add valuable context and detail to the national surveys and advance our 

understanding of the determinants of arts participation. 

53
 
CHAPTER VII. SUMMARY AND CONCLUSIONS 

A. Major ResultsAcross a decade in which participation in certain leisure activities declined and in which the 

arts became involved in increased public controversy, Americans’ participation in the arts has 

remained steady, and for some arts activities, increased. However, the largest increases in 

reported arts participation have occurred through the broadcast and recorded media -- but less 

through the new media (like VCRs, cable TV or CD players) than through the older medium 

of radio. 

1. Attendance at Live Arts Performances/Displays 

When compared to parallel SPPA data collected by the Census Bureau in 1982 (n=17,254), the 

SPPA’92 data (n=12,736) showed: 

Almost a five point increase (from 22% to 27%) in the proportion of 

adults who had attended an art museum/gallery in the previous year -­

representing an increase of more than 13 million people over the decade. 

Almost 2 point increases in proportions of adults attending an arts/crafts 

fair (from 39% to 41%) and in attending non-musical stage plays (from 

12% to 14%), representing live audience gains of 11 and 5.5 million 

adults respectively. 

In contrast, there was a 5 point decline in attending historic/design sites (from 39% to 34%) 

and a 2 point decline in attending musicals/operettas (from 19% to 17%). There was also a 3 

point decline in reading literature in the form of novels, short stories, poetry or plays. 

Overall, more than 41% of American adults reported attending at least one of the seven 

"benchmark" arts performances/events (jazz, classical music, opera, musicals, plays, ballet, art 

museums/galleries) in the previous year. In the 1982 study, when these activities were 

established as benchmark activities to compare with future surveys, that proportion was 39%. 

That was the level also found in the 1985 SPPA, in which 13,628 respondents were 

interviewed. 

As in 1982 and 1985, the major predictor of arts participation was the respondent’s level of 

education, with 77% of those with a post-graduate degree attending one of these seven arts 

events vs. less than 10% with only an elementary school education. Income was also a major 

predictor, although most of the differences by income could be explained by the respondent’s 

education level. 

54 
Other personal background factors produced much smaller differences in arts participation: 

 ̄ Women participated slightly more than men. 

Whites participated slightly more than blacks and other races (but not 

after statistical adjustment for other predictors). 

 ̄ Older adults (past age 65) participated slightly less than younger adults. 

Again, these patterns of differences were much the same as those found in SPPA’82. 

However some groups did show greater increases in live arts participation than others. Blacks 

showed more gains than whites, for example. People in the "empty-nest" years (ages 45 

through 74) showed more gain than younger adults of the "baby-boom" generation, particularly 

in attending performances of classical music, musicals and plays. Otherwise, baby boomers, 

despite their higher average level of education, showed roughly the same levels of participation 

as older people -- particularly when examined on a cohort or generational basis. Perhaps more 

of concern is the decline among the baby boomers’ next younger cohort, namely those 

currently under age 25 (who were born after the mid-1960s): their attendance at jazz 

performances and reading of literature is at notably lower levels than was true of 18-24 year 

olds in 1982. 

Of perhaps greater concern is the failure of this increase in arts participation activities to keep 

up with the increasing levels of education since 1982. Arts participation in 1992 tended to be 

slightly lower for most educational levels, and the decline was greater for those with at least 

some college education. In other words, college educated people in 1992 were less likely to 

attend live arts performances and events than their counterparts in 1982. 

More similar to 1982 was the replicated finding that people who participated in one type of 

arts event (e.g. jazz) were more likely to participate in others (e.g. opera, ballet). This is an 

example of the "more,more" principle, which describes several other patterns of arts attitudes 

and behavior in the data. This principle is that participation in one arts activity tends to 

stimulate additional participation in that activity and in other arts activities. 

2. Media Audiences for Arts Programming 

In general, far more people are reached by arts content in the mass media of TV, radio and 

recordings than by attendance at live performances. Thus, twice as many respondents 

reported attending to a classical music performance on TV (25%), on radio (26%) or on 

records,tapes or CDs (31%) than attended a live performance (12.5%). More people report 

seeing a program about the visual arts on TV (32%) than attending an art gallery or museum 

(27%). 

SPPA’92 has found that video recordings of arts programming are beginning to make notable 

inroads in expanding the arts audience. Between 2% and 4% of respondents reported 

55
 
watching video recorded arts programming of jazz/opera/visual arts/etc, in the previous year, 

and many of these viewers reported watching only videotapes and not broadcast programs. 

When multiplied by the number of such broadcast/video viewings seen, the video audience 

becomes considerably larger than the audience for live events. Thus, respondents estimate 

more than 500 million viewings of visual arts programs in 1992, in contrast to 163 million 

attendances at art galleries/museums. Moreover, the 32% who saw visual arts programs on 

broadcast TV in 1992 represented a 9 point increase over the 1982 figure of 23%; TV 

audiences for other arts programs showed no such increase, and two showed significant 

declines, as noted below. 

Moreover, the greatest increases in media arts use in SPPA’gZ were not for these video 

productions, but for broadcasts of classical music and jazz on radio. That audience reach 

grew by more than half, from 18% to 28% for jazz and from 20% to 31% for classical 

music. These radio audience gains were found in all segments of the population, although 

they were slightly higher in college educated and older (age 45 to 74) age groups. 

Audience correlates of these mass media arts programs was much the same as those for 

attending live events, again in line with the "more-more" principle. Education and income 

were the main predictors, with slightly higher arts media use reported by the middle-aged, 

whites and women. 

Not all of the arts reached increased audiences in 1992. There were significant declines in. 

the TV audiences for musicals/operettas (from 21% to 15%) or stage plays (from 26°/o to 

1 7%). That probably reflects some decline in the offerings of such programs since 1982. 

3. Personal Arts Participation 

In contrast to media participation, personal participation in the arts is much lower than 

attendance at live events. Nonetheless, the proportions involved represent several millions 

of American adults, far larger than the numbers who report the arts as their main occupation 

in government labor surveys. Thus, about a quarter of the sample said they had done some 

needlework in the past year; about a tenth of those who did needlework (or 2.4% - or 4.4 

million adults overall) reported that their work had been publicly displayed. Similarly, some 

8% of respondents reported having personally taken part in some form of modern/folk/tap 

dance, and a projected 2.2 million adults had done so as part of a public performance. 

In general, these personal arts participation figures were at about the same levels as in 1982, 

with two main exceptions. There were significant declines in the proportions doing 

needlework (from 32% to 25%) and pottery and metal/leather and other crafts (from 12% 

to 8%). 

There were also notable declines in the proportion of SPPA’92 respondents who had taken 

various types of arts lessons/classes at some point in their lives. This was particularly the 

case for music lessons (which declined from 47% in 1982 to 40% in 1992) and lessons in 

56
 
the visual arts (from 25% to 18%). The only increase was for taking art appreciation classes ­

-from20% to 23%. 

There also were notable changes in participation in several non-arts activities. There was 

a 9 point increase in the proportion of respondents who did exercises and a 5 point increase 

in those who did volunteer/charity work. These increases in potentially competing 

discretionary-time activities did not prevent an increase of 2 percentage points (from 39% 

in 1982 to 41% in 1992) in the respondents who attended at least on one of the benchmark 

arts activities during the previous year. The proportion of respondents who attended arts 

activities (41%) was larger than the proportion who attended a live Sports event (37%) in 

the previous year. 

All three of these activities - personal participation, arts lessons/classes and other leisure 

activities provide further examples of the "more, more" principle. Those who personally 

participate in the arts, who have taken lessons/classes in the arts, and who have taken part 

in other leisure activities are all more likely to attend live arts performances. 

One activity that does not follow that principle is TV viewing. Heavier TV viewers in 

general are less likely to attend arts performances, and the more they watch the less they 

attend. This is true despite the finding that respondents who use TV for arts programs are 

more likely to attend. Thus, it is less how much TV is used than what it is used for that 

affects attendance. TV hours were at the same level as in 1982, but were up slightly from 

198.5 levels. 

4. Arts Attitudes 

One of the more encouraging findings in SPPA 92 was that 71% of respondent who 

expressed an interest in attending more arts performances/displays. These high levels of 

interest were found for all seven benchmark arts activities, and roughly in proportion to the 

levels currently attending. Further reflecting the "more, more" principle was the finding that 

those expressing interest in attending more events were those already most active in 

attendance. Levels of such interest in 1992 were also at higher levels than in 1982. 

Further insights into Americans’ arts participation came from a parallel 12-city study, in 

which many of the SPPS’92 questions were included to identify additional correlates and 

stimulants to arts participation. Those studies also showed that many of the SPPA findings 

were replicated independently at the community level. It was also possible to link 

attendance to specific arts events and venues in that community. Further ways to apply the 

"more, more" principle and other survey findings to arts policy were uncovered in these 12 

communities. 

57
 
B. Conclusions 

This report illustrates some of the potentials of SPPA’92 as a comprehensive and multifaeeted 

source of national survey data concerning the American public’s arts activities. The data are 

widely applicable for arts planning and development. 

This report identifies major demographic determinants of arts participation, in particular, a 

person’s level of education. Within certain education categories, income, gender, and age also 

seem to exert some influence on patterns in arts participation. 

There is a tendency for people already involved and active in leisure pursuits and arts-related 

activities to participate more. Thus, present arts participants are more likely to watch or listen 

to arts-related content in the broadcast and recorded media. Nonetheless, as with all the factors 

in this study, it is not possible to state definitively which factors are causes of arts participation 

and which are results of attending some arts events. 

58
 
Appendix A 

Live Attendance Items 
 

Appendix A.I 

Live Arts Attendence Items on SPPA ’92 Questionaire 

I. The following questions are about YOUR 

activities during the LAST 12 monthsbetween 1, 19~, and 

~, 19~. 

With the exception of elementary or high 

school performances, did YOU go to a live 

j~zz performance during the LAST 12 

MONTHS? 

[--’1 No 

Yes - About how many times did you do 

this during the LAST 12 MONTHS? 

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? 

[--I No 

Yes - About how many times did you do 

this during the LAST 12 MONTHS? 

3. (With the exception of elementary or high 

school performances,) Did you go to a live 

opera during the LAST 12 MONTHS? 

~ No 

Yes - About how many times did you dc 

this during the LAST 12 MONTHS? 

4. (With the exception of elementary or high 

school performances,) Did you go to a. live 

musical stage play or an operetta during 

the LAST 12 MONTHS? 

~-1 No 

Yes - ~bout ho~ many times did you ~o 

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? 

[-’--I 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?
 

[-"J No 

Yes - About how many times did you do 

this during the LAST 12 MONTHS? 

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 dudng the LAST 12
 

MONTHS? 

I’~I No
 

Yes - About how many times did you do
 

this during the LAST 12 MONTHS?
 

8. (During the LAST 12 MONTHS,) Did you 

visit an ART museum or gallery? 

I"-’-] No 

Yes - About how many times did you do 

this during the LAST 12 MONTHS? 

9. (During the LAST 12 MONTHS,) Did you 

visit an ART fair or festival, or a CRAFT fair 

or festival? 

[~No 

Yes o About how many times did you d~ 

this during the LAST 12 MONTHS? 

10.	 (During the LAST 12 MONTHS,) Did you
 

visit a histoic park or monument, or
 

tour buildings, or neighborhoods for their
 

historic or design value?
 

[~No 

Yes - About how many times did you de 

this during the LAST 12 MONTHS? 

~_~ Number of times 

11. With the exception of books required for 

work or school, did you read any books 

during the LAST 12 MONTHS? 

----]No 

Yes - About how many times did you do 

this during the LAST 12 MONTHS? 

~ Number of times 

12.	 (During the LAST 12 MONTHS,) Did you
 

read any ­

Read answer categories 

e. Plays? 

~] No I---’] Yes 

b. Poetry? 

[~ No ~-’-~ Yes 

c. Novels or short stories? 

[-~ No ~----] Yes 
 

Appendix A.2.
 

Attendance Rates for Various Arts Activities by Demographic Factors: 1992
 

U.S. Adult 

Population 

(Niliions) Jazz 

Classical 

Nusic Opera Husicats 

Art Reading 

Plays Ba|[et Nuseums Literature Sample 

Size (N) 

Grand Mean: 185.8 10.6 12.5 3.3 17.4 13.5 4.7 26.7 54.0 12736 

Gender: 

Hate 

Female 

89.0 

96.8 

11.9 

9.4 

11.5 

13.4 

3.3 

3.5 

15.1 

19.6 

12.3 

14.6 

3.6 

5.6 

26.5 

26.9 

47.2 

60.2 

5598 

7129 

Race: 

~hite 

Black 

Other 

158.8 

21.1 

5.9 

10.1 

16.2 

5.5 

13.2 

6.9 

12.0 

3.4 

1.9 

4.7 

18.1 

14.2 

10.9 

13.8 

12.2 

9.7 

4.9 

2.7 

5.5 

27.6 

19.2 

28.6 

55.6 

45.3 

41.5 

11061 

1274 

339 

Age: 

18-24 

25-34 

35-44 

45-54 

55-64 

65-74 

75-96 

24.1 

42.4 

39.8 

27.7 

21.2 

18.3 

12.3 

11.3 

13.5 

12.7 

10.8 

8.3 

6.5 

2.2 

10.3 

10.1 

12.4 

16.8 

15.3 

14.0 

8.4 

2.7 

2.7 

3.3 

4.2 

4.0 

4.0 

1.7 

15.6 

16.0 

18.5 

22.4 

19.2 

16.8 

8.8 

13.2 

12.2 

13.9 

17.2 

14.9 

13.3 

6.7 

5.3 

4.8 

4.9 

5.0 

4.8 

4.1 

1.9 

28.7 

29.4 

29.7 

29.3 

24.7 

20.4 

10.3 

53.0 

54.4 

58.8 

56.7 

52.7 

50.4 

40.2 

1390 

2760 

2729 

1938 

1640 

1396 

883 

Education 

Grade School 

Some High School 

High School Grad 

Some Co[|ege

College Grad 

Graduate School 

14.3 

18.6 

69.4 

39.2 

26.2 

18.1 

.7 

2.3 

5.6 

14.2 

20.3 

24.6 

1.8 

2.9 

6.5 

14.0 

22.9 

35.6 

.6 

.8 

1.4 

3.3 

5.5 

11.6 

3.0 

5.0 

11.9 

21.4 

29.7 

37.3 

1.8 

3.7 

7.8 

15.9 

23.2 

35.4 

.6 

1.4 

2.1 

6.0 

9.0 

11.7 

3.7 

7.1 

16.4 

34.5 

46.4 

59.3 

17.2 

31.8 

48.8 

64.7 

70.5 

79.2 

1027 

1279 

4720 

2647 

1748 

1251 

Income": 

Under $5,000 

5,000-9o999 

I0,000-14,999 

15,000-24,9999 

25,000-49,999 

50,000 and over 

Not ascertained 

8.6 

15.2 

19.2 

32.9 

62.2 

32.1 

15.6 

5.9 

4.8 

5.3 

8.9 

11.4 

18.1 

10.5 

4.8 

5.5 

5.9 

10.6 

12.6 

23.0 

13.3 

2.0 

1.4 

1.7 

1.9 

2.6 

8.0 

3.6 

7.5 

7.3 

7.6 

14.1 

17.6 

33.4 

18.1 

8.4 

5.7 

6.6 

10.8 

13.7 

24.2 

14.7 

1.7 

3.4 

1.7 

2.9 

4.7 

9.5 

4.8 

12.4 

14.0 

12.6 

23.2 

28.6 

44.3 

27.8 

36.9 

39.8 

42.8 

49.8 

57.6 

71.1 

49.8 

591 

1035 

1312 

2254 

4196 

2236 

1112 

NOTE: The distribution of the sample within the income categories must be treated with caution. First, the group for which income could not be 

ascertained is 8.7 percent of the samp(e, and the income distributionwithin that group is unknown. Second, in this survey Census used slightly different 

definitions and categories of income than those used in other Census surveys, so comparisons should be made cautiously. 
0 ~­ 0 
 

Appendix A.3.
 

1982 Attendance Rates for Benchmark Arts Activities by Demographic Factors
 

U.S. Adult 

Population 

(Hittions) Jazz 

Classical 

Husic Opera Husicats 

Art Reading 

Plays Ballet Huseums Literature 

Sample

Size (N) 

Grand Mean: 170 9.6 13.0 3.0 18.6 11.9 4.2 22.1 56.4 17254 

Gender: 

Hale 80 10.3 11.3 2.7 16.6 10.7 2.7 21.0 48.9 7898 

Female 90 9.0 14.5 3.3 20.5 12.9 5.5 23.1 63.0 9356 

Race: 

~hite 146 8.9 13.9 3.2 19.7 12.7 4.5 23.2 58.3 15176 

Black 17 15.4 6.7 1.3 10.0 5.8 1.8 12.4 42.0 1675 

Other 7 8.5 9.5 3.1 13.2 8.0 3.5 27.4 50.1 403 

Age: 

18-24 

25-34 

35-44 

45-54 

55-64 

65-74 

75-96 

26 

40 

30 

25 

23 

16 

9 

17.5 

14.5 

7.8 

7.0 

4.9 

2.0 

1.4 

11.0 

13.0 

16.4 

14.8 

12.8 

12.1 

7.1 

2.0 

2.6 

3.6 

3.9 

3.5 

3.4 

2.0 

16.6 

19.8 

23.1 

21.3 

18.7 

13.9 

8.9 

10.7 

12.2 

15.3 

13.4 

11.5 

9.9 

5.2 

3.9 

4.8 

6.0 

3.7 

3.7 

3.0 

1.6 

22.7 

26.5 

27.1 

22.0 

18.9 

14.6 

8.3 

59.8 

62.1 

59.6 

54.9 

52.9 

47.3 

40.8 

2586 

4006 

2926 

2517 

2385 

1645 

919 

Education 

Grade School 

Some High School 

High School Grad 

Some Co[|ege 

College Grad 

Graduate School 

20 

22 

65 

32 

19 

12 

1.4 

4.1 

6.8 

14.9 

19,2 

19.6 

,1.9 

3.9 

7.6 

17.9 

29.4 

38.5 

0.5 

0.5 

1.9 

3.8 

6,6 

10.2 

4.2 

6.1 

13.3 

26.1 

37.4 

44.9 

1.7 

3.5 

7.0 

16.4 

25,9 

36.3 

0.4 

0.8 

2.4 

5.9 

9.7 

13.2 

2.7 

7.2 

16.1 

32.5 

44.1 

55.9 

21.0 

39.0 

54.2 

73.1 

79.9 

85.1 

2068 

2240 

6496 

3353 

1795 

1301 

Income" : 

Under $5,000 

5,000-9,999 

I0,000-14,999 

15,000-24,9999 

25,000-49,999 

50,000 and over 

Not ascertained 

19 

19 

27 

44 

37 

8 

14 

7.8 

7.5 

8.1 

9.2 

11.8 

16.8 

9.9 

8.5 

8.1 

9.5 

11.1 

18.3 

30.6 

13.8 

0.7 

1.8 

1.9 

2.0 

4.4 

10.4 

3.9 

9.5 

9.2 

13.2 

17.2 

28.0 

43.7 

18.6 

7.2 

5.5 

8.1 

10.3 

17.9 

33.8 

10.7 

2.5 

2.0 

3.6 

3.5 

6.2 

10.4 

4.5 

12.1 

13.0 

18.2 

20.9 

30.7 

47.5 

22.4 

39.8 

45.6 

53.2 

56.2 

67.4 

77.5 

56.9 

1429 

2321 

2702 

4426 

4049 

797 

1530 

"NOTE: The distribution of the sample within the income categories must be treated with caution. First, the Broup for which income could not be 

ascertained is 8.9 percent of the sample, and the income distribution within that group is unknown. Second, in this survey Census used sIight|ydifferent 

definitions and categories of income than those used in other Census surveys, so comparisons should be made cautiously. 
 

Appendix A.4.
 

1982-1992 Differences in Benchmark Arts Attendance Rates
 

by Demographic Groups 

Classical Art Reading

Jazz Music Opera Musicals Plays Ballet Musm Literature 

Total Sample: +1.0 -0.5 +0.3 -1.2 +1.6 +0.5 +4.6 -2.4 

Gender: 

Mate +2 0 +I -2 +2 +I +6 -2 

Female 0 "I 0 "I +2 0 +4 "3 

RaGe: 

White +I "I 0 "2 +1 0 +4 -3 

Stack +1 0 +1 +4 ÷6 +1 +7 +3 

Other -3 +3 +2 "2 +2 +2 +1 "9 

Age: 

18-24 "6 -I +I "I +3 +I +6 -7 

25-34 -I "3 0 "4 0 0 +3 -8 

35 -44 +5 "4 0 -5 -I -I +3 -I 

45-54 +4 +2 0 +4 +I +7 +2 

55 °64 ÷3 +3 +I +I +3 +I +6 0 

65-74 +5 +2 +1 +3 +3 +I +6 +3 

+I +I 0 0 +2 0 +2 -1 

Education: 

Grade School -I 0 0 -I 0 0 +I -4 

Some High School -2 -1 0 -I 0 ÷1 0 -7 

High School Grad "I -1 -1 -I +I 0 0 "5 

Some Cottage "I -4 -1 -5 0 0 +2 -8 

Cottage Grad +I -7 -1 -8 -3 -I +2 -9 

Graduate School +5 -3 +1 -8 -I -2 +3 -6 

Income: 

Under $5,000 "2 -4 +I -2 +1 -I 0 -3 

5,000-9,999 -3 -3 0 -2 0 +I +1 -6 

I0,000-14,999 -3 -4 0 -6 -2 -2 -6 -10 

15,000-24,9999 0 -I o -3 +I -I +2 -6 

25,000-49,999 0 -6 -2 "10 -4 -2 -2 -I0 

50,000 and over +I -8 -2 -I0 o10 -I -3 -6 

Not ascertained ÷I -I 0 -I +4 0 +5 -7 
Appendix B 

Media Attendance Items 
 

 

Appendix B.1 

Media Attendence Items on SPPA ’92 Questionnaire 

13. (Dudng the LAST 12 MC~ITHS,) Did you 

I1~ In, ­

e.A ~tading ol poetry ["] No ~"] Yee
 

either live ~, recorded?
 

b. A reading Of novels or 

book, eider live ~ No ~ Yes 

or recmdad? 

14a.(Dudng the LAST 12 MONTHS,) Did 

wetott  ̄ jazz i:~rfom~nce on television or 

 ̄ ~don NCR) tape? [~No to Item
 

Yell - Was that on TV, VCR. or both?
 

[~] VCR 

b.AbOut how n~ny times did you do thill in 

the LAST 12 MONTHS? 

~ Number of times 

c. (Dudng the LAST 12 MONTHS,) Did you 

listen to Ilzz on the r~dio? 

[~No [~ Yes 

d. (Dudng the LAST 12 MONTHS,) Oid you 

listen to jazz records, tapell, or 	ompact 

discs? 

15a.(Oudng the LAST 12 MONTHS.) Oid you
 

watch  ̄ cidl~cal music performance on
 

relaYs ̄on or on video (VCR) tape?
 [~No - Skip to Item
 

Yell - Wllll that on TV, VCR. or both?
 

[~VCR 

b.About how m~ny times did you do this in 

the LAST 12 MONTHS? 

I Number ot t;mes 

c. (During the LAST 12 MONTHS.) Did you 

listen to clas~cal music on the radio? 

[~No ~’~ Yes 

d. (During the LAST 12 MONTHS.) Did you 

-----]No [~ Yes 

16e. (During the LAST 12 MONTHS,) Did you
 

watch an opera on television or  ̄ video
 

(VCR) tape? 

[~]No - Rkip tO Item 16c 

Yes - Was that on TV, VCR. or both? 

[~VCR 

b.About how m~ny timel did you do this in 

the LAST 12 MONTHS? 

c.(Ouring the LAST 12 MONTHS,) Did you 

listen to ope~ music on ~e radio? 

[~No 

d. (Dudng the LAST 12 MONTHS,) Did you 

ll~tl~ to oflem rxcords, ms, or ~ 

b.	 Abo~t how many IJmell did you do thtll in 

the LAST 12 MONTHS? 

~ Number of times 

	.	 (Dudng the LAST 12 MONTHS,) Did you
 

listen to  ̄ mural stage pl ̄y.or  ̄n operetta
 

on the radio?
 

[--’-’1 No 

d. (During the LAST 12 MONTHS,) Did you 

listen to  ̄ musical =toga play or  ̄n opemtt= 

on records, tapes, or 	ontpact dixce? 

1~’] NO F--’-’] Y ̄, 

With the exception ot rno~es, situation 

comedies, or TV let’ ̄as, did you w ̄tch  ̄ 

non-fltusi¢~l liege l~ey on television or  ̄ 

video (VCR) tape during the LAST 12 

M(:INTHS?

F’~No - Skipto Item 

Yes - Was that on TV, VCR, or both? 

[~VCR 

b.About how many times did you do this in 

the LAST 12 MONTHS? 

~ Number of times 

c. (During the LAST 12 MONTHS,) Did you
 

listen to  ̄ radio pertormance of a
 

non-musical stage play?
 

[~No [~] Yes 

Yell - W ̄s that on TV, VCR, or both? 

r"~’IvcR 

b. About how many times did you do this in
 

the LAST 12 MONTHS?
 

~ Number of t~mes 

20a. (Dudng the LAST 12 MONTHS,) Did you 

watch  ̄ program  ̄bout  ̄rtists. all wo~ll. 

(VCR) tape? 

~-INo - Skip to Item21 

Yes - Was that on TV. VCR. or both? 

[~VCR 

b. About how many times d~d you do this in 

the LAST 12 MONTHS? 
~PPENDIX B. 2
 

Arts Med£a Aud£ences by Demograph£c Factors: 1992
 

Jazz Classical Music 

TV Radio Rec TV Radio Rec 

Grand Mean: 20.9 28.2 20.6 25.1 30.8 23.8 

Gender: 

Male 

Female 

23 

19 

31 

26 

23 

19 

23 

27 

31 

31 

23 

24 

RJ~ce= 

White 19 26 19 26 32 25 

Black 35 45 36 17 20 13 

Other 18 25 15 30 36 27 

Age: 

18-24 16 28 22 15 23 23 

25-34 21 35 26 19 28 22 

35-44 24 34 24 24 35 27 

45-54 23 28 20 29 38 27 

55-64 22 24 16 35 35 26 

65-74 20 19 12 35 29 22 

75-96 12 12 7 29 23 13 

Education: 

Grade School 7 9 4 i0 ii 6 

Some High School 

High School Grad 

Some college 

College Graduate 

Graduate School 

ii 

16 

26 

29 

36 

12 

22 

35 

44 

49 

6 

14 

27 

34 

40 

12 

19 

29 

35 

50 

12 

22 

36 

49 

63 

6 

15 

29 

41 

53 

Income: 

Under $5,000 

$5,000-9,999 

$10,000-14,999 

13 

13 

17 

21 

16 

20 

12 

Ii 

13 

14 

16 

20 

18 

18 

22 

Ii 

12 

14 

$15,000-24,999 

$25,000-49,999 

21 

22 

26 

30 

17 

22 

23 

25 

26 

32 

19 

25 

$50,000+ 

Not ascertained 

29 

20 

40 

27 

33 

20 

36 

27 

47 

32 

40 

27 
 

APPENDIX B.2
 

A~ts Media Audiences by Demographic Factors: 1992 (continued)
 

Art
 

Opera Musical Play Dance Museums
 

TV Radio Rec TV Radio Rec TV Radio TV TV
 

Grand Mean: 11.6 8.7 6.9 15.1 3.5 5.7 16.8 2.8 18.8 31.6
 

Gender:
 

Male 11 8 7 14 3 5 16 3 16 32
 

Female 12 9 7 17 4 6 18 3 21 31
 

Race: 

White 12 9 7 15 4 6 17 3 19 33
 

Black ii 6 4 13 2 3 15 4 18 24
 

Other 13 8 i0 16 5 8 14 4 22 24
 

Age:
 

18-24 6 4 4 8 2 5 i0 2 14 26
 

25-34 8 5 5 12 2 5 12 3 16 32
 

35-44 ii 8 7 15 3 7 17 3 19 34
 

45-54 15 12 9 17 4 8 21 3 20 37
 

55-64 17 14 Ii 21 5 6 23 2 25 34
 

65-74 15 13 9 20 5 5 22 3 22 29
 

75-96 17 9 5 18 4 2 17 2 20 21
 

Education:
 

Grade School 5 4 2 7 2 2 7 1 ii 13
 

Some high School 6 3 2 7 1 1 9 1 12 17
 

High School Grad 8 5 4 12 2 3 13 2 15 26
 

Some college 14 i0 8 18 4 6 18 3 22 39
 

College Grad 15 12 ii 21 6 i0 25 4 25 42
 

Grad School 27 24 19 28 8 17 34 7 31 52
 

Income: 

Under $5,000 6 5 3 7 1 4 9 1 14 21
 

5,000-9,999 8 4 3 i0 2 2 ii 3 14 21
 

10,000-14,999 i0 6 4 13 4 3 12 3 16 25
 

15,000-24,999 i0 7 4 14 3 4 14 2 19 30
 

25,000-49,999 12 9 7 16 4 5 18 3 18 33
 

50,000+ 16 14 12 20 5 ii 25 4 24 43
 

Not ascertained 14 i0 9 17 4 7 17 3 20 31
 
 

APPENDIX B. 3 

Arts Media Audiences by De~ograph£c Factors: 1982 

Jazz ClassicalMusic
 

TV Radio Rec TV Radio Rec
 

Grand Mean: 18.1 18.3 20.2 24.7 20.1 22.2
 

Gender: 

Male 20 21 21 24 20 21
 

Female 17 16 19 26 21 23
 

White 17 16 22 26 20 23
 

Black 28 36 37 16 15 13
 

Other 21 23 21 31 11 31
 

Age:
 

18-24 18 25 27 16 12 16
 

25-34 23 26 28 21 22 26
 

35-44 17 16 18 26 25 25
 

45-54 19 17 19 34 23 26
 

55-64 20 14 16 33 23 26
 

65-74 12 29 10 26 17 17
 

75-96 4 2 1 20 13 i0
 

Education:
 

Grade School 5 7 5 i0 9 6
 

Some High School 10 12 12 13 12 10
 

High School Graduate 17 16 17 22 14 16
 

Some College 22 21 26 28 21 27
 

College Graduate 26 27 32 40 40 43
 

Graduate School 36 34 39 49 51 56
 

Income:
 

Under $5,000 13 16 13 15 12 Ii
 

$5,000-9,999 12 19 15 16 15 14
 

$10,000-14,999 15 16 17 22 15 18
 

$15,000-24,999 20 19 22 27 21 24
 

$25,000-49,000 22 19 24 32 25 28
 

$50,000+ 26 20 30 46 40 38
 

Not ascertained 22 19 22 26 27 29
 
 

 

 

APPENDXX B. 3
 

Arts Media kud£ences by Demograph£c Factors: 1982 (Cont£nued) 

Art
 

Opera Musical Play Dance Museums
 

TV Radio Rec TV Radio Rec TV Radio TV
 

Grand Mean: 12.1 7.2 7.6 20.6 4.5 8.5 26.4 3.8 16.7 23.1
 

Gender: 

Male Ii 7 7 21 5 7 26 4 12 23
 

Female 17 7 8 22 4 i0 27 4 21 23
 

Race: 

White 12 5 8 21 4 10 27 4 17 23 

Black 9 5 4 18 5 3 19 5 23 26 

Other 20 15 13 20 8 I0 21 3 26 25 

Age:
 

18-24 6 4 3 16 2 7 22 5 ii 18
 

25-34 8 6 5 22 4 7 29 5 16 26
 

35-44 13 6 9 20 5 11 28 3 19 24
 

45-54 18 2 12 25 8 14 31 4 20 27
 

55-64 19 i0 13 23 4 i0 27 3 21 26
 

65-74 14 8 8 21 3 5 24 3 17 20
 

75-96 13 7 7 17 4 3 17 2 14 12
 

Education:
 

Grade School 4 4 3 9 1 2 7 1 8 5
 

Some High School 8 4 4 9 3 3 12 2 9 12
 

High School Grad Ii 4 6 18 3 5 23 3 13 21
 

Some College 14 8 8 27 5 9 32 5 18 29
 

College Grad 19 14 15 30 9 22 44 5 32 37
 

Grad School 23 18 18 39 Ii 24 54 9 34 43
 

Income:
 

Under $5,000 7 5 3 Ii 4 4 13 4 12 13
 

$5,000-9,999 8 5 4 15 3 4 19 4 ii 16
 

$10,000-14,999 9 6 6 17 4 5 21 3 12 18
 

$15,000-24,999 13 6 8 22 4 8 28 4 18 23
 

$25,000-49,999 15 8 9 26 5 13 34 5 22 33
 

$50,000+ 24 15 13 36 12 20 55 2 29 43
 

Not ascertained 13 ii 12 22 8 ii 26 3 18 21
 
m 

N 0 
Appendix C 

Personal Participation Items 
Appench× C 1
 

Personal Parhc~pation Items on SPPA ’92 Questionnaire
 

23a. (Dudng the LAST 12 MONTHS,) Did ycxJ work 

wtlh pottery, ceramics, jewelry, ~ do any 

I~ ~ me~lw~ 

~N~ Skip to 24a 

~ Yes
 

b. ~d y~ publicly display any of y~r w~ks? 

~ Yes 

24~. (~dng ~e ~ST 12 MONTHS,) Did y~ do
 

~y w~ng, cr~heting, quilSng,
 

n~l~nt, ~ se~ng?
 

~Nm Skipto item 25a 

b. ~d y~ publicly display any of y~r wo~s? 

~ No 

25a. (During the LAST t2 MONTHS,) Did you do 

make photographs, movies, or video tapes 

as an a~st~c activity? 

O NO- Skipto item 26a 

O Yes 

b, Did you publicly dispI,~y any o! your works? 

[] No 

(During the LAST t2 MONTHS,) D~d you do 

any painting, drawing, sculpture, or 

pdntmaklng activities? 

O No- Skip to item 27a 

26b. Did you publicly display any of your works? 

[] No 

F’-] Yes 

27a. With the exception of work or school, did you 

do any creative wdting such as stories, poems, 

or plays during the LAST 12 MONTHS? 

E~No- Skip to item 28a 

F] Yes 

b. Were any of your writings published? 

[] No 

[] Yes
 

28a. Did you write or compose any music during 

the LAST 12 MONTHS? 

F] No- Skip to item 29a 

D Yes 

b. Was your musical composition played in a 

public performance or rehearsed for a public 

performance? 

[] No 

d Yes 

29a. Do you own any original pieces of art, such 

as paintings, drawings, sculpture, prints, or 

lithographs? 

F] No- Skip to item 30a 

[] Yes 

29b. Did you purchase or acquire any o! these
 

pieces dudng the LAST 12 MONTHS?
 

[] No 

]Yes 

30a. During the LAST 12 MONTHS, did you
 

perform or rehearse any jazz music?
 

]No. Skip to item 31e
 

[~Yes
 

b D~d you play any jazz in a public performance
 

or rehearse for a public performance?
 

[] No
 

]Yes
 

31a During the LAST 12 MONTHS, did you play 

any classical music? 

D NO- Skip to item 32a 

[] Yes 

b. Did you play any classical music in a public
 

performance or rehearse for a public
 

performance?
 

[] No 

[] Yes 

32a During the LAST 12 MONTHS, did you sing 

any music from an opera?
 

]No- Skip to item 33a
 

O Yes
 

b. Did you sing in a public opera performance
 

of rehearse for a public performance?
 

[] No 

F-J Yes 

33a. During the LAST 12 MONTHS, did’you sing 

any music from a musical play or an opera? 

]No- Skip to item 33c 

[] Yes 

33b. Did you sing in a public performance 

of a musical play or operetta or rehearse for a 

public perfon’nance? 

[] No 

[~] Yes 

33c. 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 per’fownance? 

FINd 

d yes 

34. (During the LAST 12 MONTHS), did you ac! in a 

public performance of a non-musical play or 

rehearse for a public performance? 

FINd- Skip to item 35a 

[] Yes 

35a. (During the LAST 12 MONTHS,) Did you dance 

any ballet’? 

F1No- Skip to item 36a 

d Yes 

b. Did you dance ballet in a public ped’o~rnance 

or rehearse for a public ped’om~ance? 

[] No 

F-I Yes 

36a, (During the LAST 12 MONTHS,) Did you doany 

dancing other than ballet such as modern, fo~k, 

or tap? 

O No- Skip to item 37a 

d Yes 

b. Did yqu dance modem, folk, or tap in a
 

public performance?
 

[] No 

[] Yes 
 

8.1 

Appendix Table C.2 

Personal Participation Rates for Various Arts Activities by Demogmphio Factors: 1992 

Pray 

Pray Ctassicat Sit~ Sing Sing Act in 

Jazz Music Opera Mustcats Chofr Prays BaLLet Dance 

Grand Mean: 1.7 4.2 1.1 3.8 6.4 1.6 0.2 

Gender: 

Mate 2 3
 I
 3
 5
 

FemaLe I 5 I 5 7 

2

2
 

0
 

.4
 

8

8
 

I,Jhite 2 4
 I
 4
 6 1 .2 8 

BLack 

Other 

2 

2 

3 

5 

2 11 

2 

3 

0 

.1 

1.0 

8 

9 

Age: 

18-24 

25"34 

35 -44 

45-54 

55-64 

65- 74 

75÷ 

3 

2 

2 

1 

2 

1 

6 

3 

4 

5 

5 

4 

3 

1 

1 

1 

2 

2 

1 

2 

4 

4 

5 

5 

4 

2 

5 

7 

7 

7 

8 

5 

2 

3 

2 

2 

2 

1 

1 

I 

.4 

.5 

.I 

0 

0 

.2 

0 

11 

10 

7 

6 

6 

9 

5 

Educat~n: 

Grade Schoot 

Some High Schoot 

High Schoot Grad 

Some CoLLege 

Cortege Grad 

Graduate School 

0 

1 

1 

2 

3 

3 

1 

1 

2 

6 

8 

9 

0 

I 

2 

2 

3 

1 

1 

3 

5 

6 

9 

4 

6 

7 

7 

9 

1 

2 

2 

2 

2 

0 

0 

.2 

.4 

.3 

.2 

4 

4 

8 

10 

8 

10 

Income: 

Under $5,000
 3 2 1 I
 5 I 1.0 7 

5,000-9,999 I 2 1 2 6 I .2 7 

10,000-14,999 2 3 1 3 7 I 0 7 

15,000-24,9999
 2 ’ 4 1 3 7 2 .2 9 

25,000-49,999 I
 5 1 4 7 2 * 8 

50,000 and over
 2 6 1 6 5 2 .3 8 

Not ascertained 2 4 1 4 4 I 8 

(*) Less than 0.1% 
Appendix C.2 (continued)
 

Personal Participation Rates for Vadous Arts Activities by Demographic Factors: 1992
 

Creel ive Buy Own 

Pottery Needwork Photograph Painting Writing Compose Art Work Art Work 

Grand Mean: 5740 8.4 24.8 11.6 9.6 7.4 2.1 22.1 7.2 

Gender. 

MaLe 2483 8 5 13 9 7 3 Z2
 

FemaLe 3246 9 43 10 10 8 I 22
 

Ra~e: 

White 4975 9 26 12 10 7 2 24 8 

Btack 587 8 15 11 5 6 3 12 5
 

Other 152 5 24 9 10 11 1 8 2
 

Age: 

18-24 608 9 18 11 19 14 4 13 5 

25-34 1259 10 24 15 10 7 3 19 8 

35-44 1258 10 25 13 10 8 3 27 9 

45-54 865 9 26 13 8 7 I 29 9 

55-64 702 6 27 10 6 5 2 26 6 

65-74 650 6 29 7 6 5 I 20 6 

75-96 393 3 26 2 4 2 * 17
 4

Education: 

Grade Schoot 443 2 22 3 I * * 4 I
 

Some High Schoot 570 7 25 5 5 3 I 11 4
 

High Schoot Grad 2121 8 25 9 9 4 2 15 5
 

Some cortege 1226 12 26 15 13 11 3 27 9
 

ColLege Grad 811 9 26 16 12 12 3 32 10
 

Graduate School 535 8 21 22 13 16 3 49 18
 

Income: 

Under $5,000 276 7 22 6 8 7 2 10 3 

5,000-9,999 453 4 27 7 8 7 2 10 3 

I0,000-14,999 611 8 26 8 8 6 3 14 5 

15,000-24,9999 1030 8 26 9 10 7 2 17 6 

25,000-49,999 1859 10 25 13 10 7 2 22 7 

50,000 and over 1006 8 23 17 11 9 2 40 14
 

Not ascertained 500 8 24 12 11 9 3 24 8
 

(*) Less than 0.1% 
an 

1 ~]No. ~kiptoltem~ 

2[~]Yes 

b. Did you take Ihese lem~ons when yo~ were. 

Read cafe~:rle~. (Do not read c~tegory 4 if 

Mark (X) all ~ apply. 

1 [] Lese than 12yearsotd 

4 [] 25 or ok:let 

Raler to Item 38b 

is box 1 or 2 marked in item 38b? 

]No- ~xlp to Check item 

[’~ Yes- Ask i/era 38c 

Elementary or high ~:hoot you were 

a~lending or did you take the~e les~ons 

elsewhere? 

t [] Elementary/high ~.hool 

2 []
 

3 [] Both
 

j Refer to item 38b
 

If box 4 is marked in item 38b. ASK ilam 38d. 

If not - Is box 2 or 3 marked in item 38b AND 

the respondent is under 2~ years old? 

]No- Sk;p to item 39a 

A~k item 38d ---’]Yes38d. Did you lake any of ~he~ lessons or
 

classes in the pest year?
 

2 [] Yes 

39s, (Have you EVER taken les~0~s or 

1 [] No- Skil) to item 40a 

2~]Yes 

b. Did you lake these lesions when you w~m. 

Reed categories. (Do not reed category 4 ff 

responder~ is under 25 years old.) 

M~rk (X) all th~ apply. 

1 [] Less then 12 years old 

2 ~] 12-17 yeereold 

3 [] t8-24 yeers old 

4 [] 25 or older 

Refer to item 39b 

Is box 1 or 2 marked in item 39b? 

]No- Sklp to Check item O 

2 [] Elsewt~ere 

ff not - Is box 2 or 3 marked in itafft 39b AND 

the mmondent is under 25 yearn o~d? 

3~1. Did you tok~ any Of I~lse I~e or
 

claml in the past year?
 

1 I-’] No 

2 [] Yes
 

40~. (Haw~ y~u EVER tam ~eseone o~ clams)
 

ac"ng or theater?
 

I [] No- Skip to item 41e
 

b. Did you take these ta~o~s when you m ­

Read �~te~or~es. (DO not read category 4 if 

respond~r~t is under 25 y~ars old.) 

M~-k (X) all that apply. 

I [] Less than 12 yearsold 

2 [] 12-17 y~rs old
 

3 []18-24 years old
 

4 [] 25 or older
 

~ IS box 1 or 2 marked in item 40b? 

4Oc.Were ~ les~ons or 	~sees offered by the 

Elementary or high ~:hooI yOU m 

elta~ding o," d~d you take ~ese leseo~s 

elsewhere? 

I [] Elementary/high ~:t~::ol 

2 [] Elsewhere 

3 F’~ 8oth 

I ReMr to item 40b 

If box 4 Is marked in item 40b. ASK item 40d. 

If not - Is box 2 or 3 rnad~d in Item 40b AND 

1he respondent ts under 25 years old? 

~ NO. Skip fo item 41e 

]Yes- Ask item 40d 

40d. Did you take any of these lesions or
 

clams in ~le past year?
 

f []No 
Append4x C.30 condnued 

41a. (1"~ yOU EVER taken leseo~e or cteseel) in 

ballet? 

b. Did you take Ihese leseone when you were ­

Read �~tsgorie& (Do not read �~tegorV 4 if 

respondsn~ is under 2~ years old.) 

1 [] Lese then 12yoersold 

2 J’-’~12-17 years old 

3 J~l t8-24 yearn old 

4 J~J 25 or cider 

]No- Sklp to Check item H 

]Yes- Ask item 41c 

41c. Wee these leseone or classes offered by the 

Elementary or high school you were 

a~tending or did you take these lesions 

elsewhere? 

1 [] Elementary/high school 

2 [] Elsewhere 

3 [] Both 

Elementary/high ectmo4 

Elem~nem 

If not - le bOx 2 or 3 rlmrked In Item 41b ~0 

the ree~)ondent is under 25 years old? 

Skip to item 42e 

Ask item 4 t d 

4~I. Did you ~ke shy o! theso lemmns or 

	~asees in the pasl ~ar? 

43a. Hiss yo~ EVER taken Imwso~e or clam in 

crse~ve vni~ng? 

1 ~ NO- Skip to item 42e 

b. Did you take 1hess lessons when you were ­

Reid r.etegorie$. (Do no~ ree~ category 4 ff 

respondent is under 25 years old.)
 

Mark (X) a~l that apply.
 

If bOX 4 is marked in item 41b. ASK item 41d. 

Less than 12 years old 

If not - Is bOx 2 or 3 marked in item 41b AND ; 

the respondent is under 25 years old? 

]No- Skip to item 42e
 

I’--] Yes. Ask item 41d
 

41d. Did you take any ot these lessons or
 

classes in the pest year?
 

2 [] Yes 

42a. (Have you EVER taken lemons or cleml} in 

dance, other than belier such is modem, ~olk. 

or tap? 

1 [] No- Skip to item 43a 

2J’~Yes 

b.Did you take these lessons when you were ­

Read categories. (Do not reed category 4 if
 

respondar~ is under 25 years old.)
 

Mark (X) ell that apply.
 

1 [] Lessthan 12 yeerlold 

3 J’~ 18-24 yoars old
 

4 [] 25 or older
 

Is ~x 1 or 2 ~ In item 

~ N~ ~k/p to C~k item H 

18-24 years old 

25 or cldar 

~J Refer to item 43b 

I$ box 1 or 2 marked in ilem 41b? 

Skip to Check item L 

Ask item 43c 

43~. Wee these les=o~= or clams o~/ared by the 

Elemefttary or high sohool you were 

attending or did you take these lessons 

e~sewhem? 

1 ~ Elementary/high school 

2 ~ Elsewhere 

Relm, to item 43b
 

If box 4 is rm~rked in item 43b. ASK item 43d.
 

If not - Is box 2 or 3 marked in item 43b AN0
 

the ~ndent is under 2~1 years old?
 

clam ~ ~ ~ 

I ~No 

2 ~ Y~ 
Appendix C.3. 	o~nued 

epp*~m~k~ or an histon/? 

1 [] No- ,Skip to Item 45a 

2[’-’]Yes 

b. Did you teke Ihls ~ when you were ­

Reed �~te~o~a~. (Do ~ reerl catogory 4 if 

reel~der~ Is under 25 years old.)
 

Mert~ (X) al( fhlt apply.
 

1 [] Lose th~n 12 yeersold
 

2 [~12-17 years old
 

3 [] 18-24 years aid 

Refer to item 44b 

le box 1 o~ 2 ma~ked in item 44b7 

]No- Skip to Ch~:k /tern L 

-"]Yes- Ask item 4,k: 

44c. Was this class o~erld by the etementet~/o~ 

2 [] Elsewhere
 

3 [] Both
 

If not - Is box 2 or 3 marked in item 44b AND 

2 [] Yes 

2 [] Yes 

4 [] 25 or older 

Re~ to ttam 45b
 

Is box 1 or 2 marked in Itom 45b?
 

]No. Skip to Check Ram L 

[~ Yel- Ask/ram 44c 

45	. Was thee emil altered by the etemefttmy o~ 

high Ichool you m attending o~ did ytm 

take these miles elsettttere?
 

1 [] Eleff~t~f/hlgh
 

2 [] Elsewhere
 

Refer to tram 45b 

If box 4 is ntl~,ed in item 45b. ASK ~ 45d 

If not - Is box 2 or 3 rmlrked in item 45b AND 

the ~eAoondent is under 25 y~em old? 

aND. Sklp to ltom 46a 

]Yes- Ask/tom 45d 

45d. Did you take this rJlss in the past year?. 

[] ~o 

]Yes 

b.What Is the highest grade (m’ year) of regular
 

scho~ your FATHER 	om~tad?
 

t [] 7th grade or tess
 

2 [] 8th grade or less
 

3 [] 9th-11th grades
 

4 [] 121h grade
 

5 [] College (did not comptete)
 

6 [] Con~oleted college (4+ years)
 

7 [] Post graduate degree (M.A., Ph.D.. M,D., J.D,. etc.)
 

8 [] Don’t k~ow
 

b.What iS the highest grade (or yOSr) of regular
 

school your MOTHER completed?
 

1 [] 7th grade or less 

2 [] 8th grade or test
 

3 [] 9thollth grades
 

4 [] 121h grade
 

5 [] College (did not complete)
 

6 [] Completed ¢041ege (4+ years)
 

7 [] Postgraduate degree (M.A.. Ph.D.. M.D.. J,D., etc.)
 

8 [] Don’! know
 

Is this the lest household member to pa
 

inten~awed?
 

O No- Go back to the NCS- t and Ir~ervlew the 

rm st eligible NCS household member 

]Yes- END INTERVI~N 
Appendix C.4
 

Lessons/Classes for Venous Arts Activities by Demographic Factors: 1992
 

Grand Mean: 

Gender: 

MaLe
 

FemaLe
 

Race: 

~hite
 

Bteck
 

Other
 

Age: 

18-24
 

25-34
 

35-44
 

45-54
 

55-64
 

65-74
 

75-96 

Education: 

Grade School 

Some High School 

High School Grad 

Some ColLege 

College Grad 

Graduate School 

income: 

Under $5,000 

5,000-9,999 

10,000-14,999 

15,000-24,9999 

25,000-49,999 

50,000 and over 

Not ascertained 

Music Visual 

Lesson Arts Activity Bat{el Dance 

39.6 17.7 7.4 7.0 15.8 

36 17 7 1 10 

43 18 8 12 22 

41 18 8 7 17 

29 11 6 5 9 

28 17 7 2 9 

46 

43 

24 

22 

11 

9 

10 

7 

16 

13 

41 20 8 10 18 

41 17 7 8 18 

37 13 5 3 16 

29 9 4 2 16 

28 8 3 1 12 

7 2 I I 3 

15 5 I 2 7 

33 12 4 5 12 

51 24 11 11 20 

58 30 14 11 24 

63 34 15 12 28 

27 12 5 4 10 

27 11 6 3 9 

28 10 4 3 12 

35 17 7 6 14 

44 19 8 8 17 

55 27 10 11 22 

38 16 9 6 16 

Creative griting Art Appreciate MusicAppreciate 

15.6 22.9 18.1 

15 23 17 

16 22 19 

16 23 19 

13 22 16 

13 24 12 

24 27 18
 

22 26 19
 

19 25 21
 

12 23 19
 

8 21 18
 

7 17 16
 

3 11 7
 

I 5
 I


I 7 4
 

6 13 8
 

24 29 23
 

32 42 37
 

36 51 45
 

12 17 12
 

11 11 10
 

8 15 9
 

13 17 17
 

17 25
 19
 

24 37 30
 

14 23 16
 
Appendix D 

Other Leisure Activity Items 
Appendix D. 1 

Other Leisure Activity Items 

on SPPA ’92 Questionnaire 

22a.	 The following questions are about your 

participation in other leisure activities. 

Approximately how many hours of television 

do you watch on an average day? 

Number of hours 

b. During the LAST 12 MONTHS, did YOU go 

out to the movies? 

r-----~ No ~-~ Yes 

c. With the exception of youth sports, did you 

go to any amateur or professional sports events 

events during the LAST 12 MONTHS? 

r-~No [--’-J Yes 

d. During the LAST 12 MONTHS, did you go to 

an amusement or theme park, a carnival, or 

a similar place of entertainment? 

~ No [~ Yes 

e. During the LAST 12 MONTHS, did you jog, 

lift weights, walk, or participate in any other 

excercise program? 

~’--’-~ No ~ Yes 

f. During the LAST 12 MONTHS. did you 

participate in any sports activity, such as 

softball, basketball, golf, bowling, skiing, or 

tennis? 

--’-]No [~ Yes 

g. Did you participate in any outdoor activities, 

such as camping, hiking, or canoeing during 

the LAST 12 MONTHS? 

[---"~ No ~ Yes 

h. Did you do volunteer or charity work during 

the LAST 12 MONTHS? 

~’-JNo [~] Yes 

i. Did you make repairs or improvements on 

your own home during the LAST 12 

MONTHS? 

~’-’] No ["--’] Yes 

j. Did you work with indoor plants or do any 

gardening for pleasure during the LAST 12 

MONTHS? 
 

Appendix D.2 

Participation Rates in Other Leisure Activities by Demographic Factors: 1992 

TV 

Hours Movies 

Sports 

Events 

Amusement Play Home 

Park Exercise Sports Outdoor Charity Improvement Gardening 

Grand Mean: 3.0 59.0 36.8 50.2 59.7 38.8 34.1 32.6 47.6 54.7 

Gender: 

Mate 

Female 

2.8 

3.~ 

60 

59 

44 

30 

51 

50 

61 

59 

50 

29 

39 

29 

30 

34 

53 

42 

46 

62 

Race: 

Uhite 

Black 

Other 

2.9 

3.7 

2.8 

60 

54 

62 

38 

32 

20 

51 

45 

46 

61 

51 

51 

40 

32 

38 

37 

10 

28 

33 

28 

23 

50 

32 

31 

57 

39 

42 

Age: 

18-24 

25-34 

3.0’ 

2.8 

82 

70 

51 

47 

68 

68 

67 

67 

59 

52 

43 

41 

26 

31 

33 

47 

31 

51 

35-44 

45-54 

55-64 

2.6 

2.7 

3.2 

68 

58 

40 

43 

35 

23 

58 

44 

30 

62 

62 

56 

44 

34 

21 

42 

36 

21 

37 

36 

35 

58 

57 

53 

57 

64 

63 

65-74 3.7 34 20 29 50 18 21 37 42 63 

75-96 3.8 19 7 14 34 7 5 20 20 55 

Education: 

Grade School 

Some High School 

High Schoot Grad 

Some College 

College Grad 

Graduate School 

3.4 

3.7 

3.2 

2.8 

2.4 

2.1 

16 

35 

54 

21 

77 

81 

9 

19 

33 

45 

51 

51 

24 

35 

51 

59 

58 

54 

24 

39 

55 

71 

75 

79 

10 

18 

34 

49 

55 

57 

11 

21 

31 

42 

42 

51 

17 

18 

26 

40 

43 

54 

24 

34 

47 

53 

52 

65 

44 

50 

53 

55 

61 

65 

Income: 

Under $5,000 

5,000-9,999 

10,000-14,999 

15,000-24,9999 

25,000-49,999 

50,000 and over 

Not ascertained 

4.1 

3.7 

3.6 

3.2 

2.7 

2.3 

3.0 

43 

35 

44 

53 

67 

76 

58 

23 

22 

22 

32 

42 

52 

34 

35 

34 

39 

52 

57 

57 

46 

40 

39 

45 

54 

66 

77 

60 

20 

21 

25 

36 

45 

54 

36 

17 

21 

22 

34 

40 

44 

30 

18 

23 

25 

29 

37 

43 

26 

21 

25 

35 

42 

57 

64 

41 

40 

44 

50 

53 

60 

62 

49 
Appendix E 

Arts Attitudes Items 
Appendix E.1 

Increased Interest in Attendance 

on SPPA ’92 Questionnaire 

21a. I’m going to read a list of events that some 

people like to attend. If you could go to any of 

these events as often as you wanted, which 

ones would you go to MORE OFTEN than you 

do now? I’ll read the list. Go to ­

Mark (X) all that apply. 

1 D Jazz music performance 

2 D Classical music performance 

3 ~ Operas 

4 ~ Musical plays or operettas 

5 ~ Non-musical plays 

6 Ballet performances 

Dance performances other than ballets 

8 Art museums or galleries 

None of these- Skip to item 22a 

If only one is chosen, skip to item 22a
 

If more than one is chosen, ask
 

b. Which of these would you like to do most? 

~ Category number 

--]No one thing most 
 

Appendix E.2
 

Desire to Attend More Arts Performances by Demographic Factors: 1992
 

Jazz 

CLassicaL 

Music Opera MusicaLs PLays BaLLet Dance 

Art Museta~/

GaLLeries 

Grand Mean: 25.2 25./* 11.0 36.2 33./* 18.3 23.8 

Gender: 

MaLe 

FemaLe 

29 

22 

2/* 

27. 

9 

13 

30 

/.2 

30 

37 

10 

26 

17 

30 

40 

42 

Race: 

Nhite 

Black 

Other 

22 

49 

22 

27 

14 

28 

11 

7 

15 

38 

28 

26 

35 

28 

24 

19 

12 

25 

23 

29 

29 

42 

35 

36 

Age: 

18-2/* 

25-34 

35-44 

45-54 

55-64 

65-74 

75-96 

26 

32 

30 

26 

18 

15 

10 

19 

30 

27 

29 

30 

31 

24 

9 

7 

10 

13 

17 

14 

13 

52 

35 

35 

40 

39 

42 

30 

30 

33 

29 

38 

32 

32 

23 

17 

20 

19 

18 

19 

18 

16 

28 

26 

23 

23 

23 

20 

17 

42 

43 

45 

45 

40 

37 

30 

Educaticn: 

Grade School 

Some High School 

High School Grad 

Some CoLLege 

College Grad 

Graduate School 

6 

11 

22 

31 

36 

41 

11 

13 

18 

30 

37 

52 

6 

5 

8 

14 

14 

21 

12 

18 

30 

46 

50 

57 

8 

15 

28 

42 

49 

58 

7 

8 

15 

23 

25 

31 

12 

17 

23 

30 

23 

31 

8 

15 

30 

52 

77 

Income: 

Under $5,000 

5,000-9,999 

I0,000-14,999 

15,000-24,9999 

25,000-49,999 

50,000 and over 

Not ascertained 

22 

17 

17 

23 

27 

34 

26 

18 

18 

19 

23 

35 

37 

26 

11 

8 

8 

8 

12 

15 

13 

25 

23 

23 

31 

38 

54 

37 

21 

22 

25 

30 

37 

47 

33 

12 

15 

13 

17 

19 

23 

19 

22 

22 

20 

26 

24 

26 

22 

24 

23 

22 

36 

44 

66 

41 
Appendix E.3 

Music Preference Items on 

SPPA ~92 Questionnaire 

37a. I’m going to read a list of soma types of 

muaic. As I read the list, tell me which of 

these types of music you like to listen to? 

Mark (X) all tha~ apply. 

1 [] Classical/Chamber music 

2 [~ Opera 

3 ~1 Operetta/Broadway Musicals/Show tunes 

4 ["-~ Jazz
 

5 [] Reggae (Reg gay)
 

6 [] Rap music
 

7 [] Soul
 

8 ~’~Blues/Rhythm and blues 

9 [] Latin/SpanishlSalsa 

10 [] Big band
 

11 [] Parade/Marching band
 

12 [] Country-western
 

13 [] Bluegrass
 

14 [] Rock
 

15 [] The music of a particular Ethnic/ 

National tradition 

16 [] Contemporary folk music 

17 [] Mood/Easy listening 

18 [] New age music 

19 [] ChorallGlee club 

20 [] Hymns/Gospel 

21 [] All 

22 [] None/Don’t like to listen to music- Skip to item 38a 

b. ff only one category is marked in 37a, enter code in
 

37b without asking. Which of these do you like best?
 

[~ Category number
 

----]No one type best
 
 

 

Appendix E.4 

Preference Rates for Selected Types of Music by Demographic Factors: 1992 

CLassicaL Big Country/ 

Jazz Music Opera MusicaLs BLues Band FoLk Western Rock 

Grand Mean: 33.9 33.3 12.1 27.5 40.3 34.8 22.7 51.8 43.5 

Gender: 

MaLe 38 32 10 24 44 34 23 52 48 

FemaLe 30 35 14 31 37 36 23 52 

Race: 

~hite 32 35 13 30 38 37 24 57 46 

BLack 54 18 8 15 59 22 15 19 23 

Other 26 36 14 20 25 17 18 32 38 

Age: 

18-24 30 24 5 14 39 13 10 39 70 

25-34 41 27 7 21 46 23 19 50 59 

35-44 39 36 10 25 46 30 27 53 57 

45-54 33 39 16 35 40 43 32 61 39 

55-64 30 42 20 37 35 53 26 58 14 

65-74 27 43 21 42 35 61 26 54 9 

75-96 21 29 17 27 23 46 14 46 7 

Education: 

Grade School 10 12 6 7 14 19 9 48 12 

Some High School 15 16 5 12 26 24 13 59 27 

High School Grad 28 25 9 22 36 32 20 57 42 

Some Cortege 42 39 14 33 50 37 25 50 54 

CoLLege Grad 50 51 16 39 50 43 28 42 54 

Graduate School 54 65 26 52 59 53 40 46 53 

Income: 

Under $5,000 27 20 6 14 35 16 11 43 36 

5,000-9,999 21 23 7 14 30 27 17 52 32 

10,000-14,999 25 25 12 19 34 30 18 55 33 

15,000-24,9999 29 29 9 23 35 31 19 57 39 

25,000-49,999 36 35 13 29 43 38 26 54 50 

50,000 and over 47 47 17 44 52 45 31 48 55 

Not ascertained 35 35 13 29 36 37 20 42 35 

Mood/


Easy 

48.9 

53
 

50 

39 

42
 

38
 

47
 

52
 

54
 

55
 

36
 

22
 

31
 

49
 

56
 

56
 

60
 

32
 

36
 

35
 

56
 

62
 

46
 
 ̄ Appendix F 

Survey Methodology 
1992 SURVEY METHODOLOGY
 

Respondents in the survey were part of a larger continuously rotating panel of respondents who were interviewed 

every six months over a three year period. These individuals lived in households selected by the U.S. Census 

Bureau to be randomly representative of the total U.S. adult population 18 years of age and older. Census Bureau 

population counts were used to draw the sample in such a way that all individuals living in households in the United 

States had a known and equal chance of selection. The sample frame was the same as that used in the 1982 survey. 

All individuals aged 18 and over in these selected households were eligible to be included in the survey. Less than 

20% of all eligible individuals in these selected households could not be interviewed. The final data were weighted 

slightly to ensure that the final sample was completely representative of the 1992 U.S. population in terms of age, 

race and gender. 

About three-quarters of these interviews were conducted by telephone, the remainder face-to-face in the respondent’s 

home. Respondents who were not at home at the time of the interviewer’s visit were interviewed by telephone. 

No effective differences have been generally found between these in-home interviews and the telephone interviews. 

The interview took about eight minutes to complete for the first six months of 1992 (i.e., January through June). 

Each month’s interview began with the survey’s "core" questions, which referred to general arts participation during 

the previous 12 months. A second set of items about mass media usage then completed the interview. These 

questions are shown in Section III of the Appendix. 

The completed questionnaires were returned to the Census Bureau in Suitland, Maryland, where they were edited 

for final keying onto a computer tape. These coded survey answers were then merged with the coded data on each 

respondent’s background (e.g., age, education, race) obtained in the panel part of the Census Bureau survey. These 

background data were then weighted to reflect U.S. population characteristics and projected to the total U.S. adult 

population. 
Appendix G 

Measurement of Sampling Errors 
MEASURING SAMPLING ERROR
 

Since survey estimates are based on a sample, they may differ somewhat from the figures that would have been 

obtained if a complete census had been taken using the same schedules, instructions, and enumerators. As in any 

survey work, the results are also subject to errors of response and of reporting, as well as being subject to sampling 

variability. 

The estimates of standard error produced from the sample data are primarily a measure of sampling variability (that 

is, of the variations that occur by chance because a sample rather than the whole of the population is surveyed). 

The estimates of standard error also partially measure the effect of response and enumeration errors, but they do 

not measure, as such, any systematic biases in the data. 

Each estimate made from the survey process has its own variance and resulting standard error. It is, however, 

impractical to compute an estimate of the variance for every sample estimate. Therefore, variances are estimated 

for a small subset of the sample estimates. These variances are then generalized to be applicable to all estimates 

from each of the various aggregate estimates (e.g., percentage attending jazz performances, percentage watching 

classical music performances on television, percentage liking rock music). 

The total error of an estimate involves a component, in addition to the variability due to sampling, which is called 

non-sampling error. This component is called the bias of the estimate. The bias is the difference between the 

average of all possible samples (this average is conceptual since only one sample is used) and the attempted value 

to be estimated. 

This is the result of: 

a.	 The types of estimates being produced (e.g., ratio estimate). These are known to be biased but 

are preferable to certain other unbiased estimates because of the amount of reduction they bring 

to the variance of the estimates. 

be	 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 m the sampling frame, 

methods of adjusting for non-responses, coding, classification, and edit errors, etc. 

The amount of bias cannot be directly observed and estimated. It is known to exist, though, and during the survey 

process, efforts are made through design and control operations to limit its effect. 
Variance and Sample Errors for the SPPA 

With respect to the sampling errors for the SPPA portion of the sample, Appendix Table G. 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, 10.6% of the SPPA’92 respondents said they attended a live jazz performance 

at least once during 1992. Using the theoretical mathematical formula to compute sampling errors, one standard 

error for this sample size (12,736) is 

.106".899
 = .0027 or .27%
 

12,736
 

The population bounds for these questions for 95 % confidence is obtained by roughly doubling this interval of .27 %, 

or about .54%. This means that the 95% confidence interval falls 0.54% above and below the average estimate. 

But that is the theoretical proportion for a completely random sample, and SPPA respondents were chosen by 

clustered random sample. As noted above, that means that clusters or segments of households (about 4) in a 

neighborhood were chosen. Since people in neighborhoods may tend to share certain characteristics (such as going 

to jazz or classical musical performances), that raises the possibility that the effective after-sample size is lower 

because of this clustering due to the homogeneity of people who live in the same area. 

Further clustering was introduced in the SPPA by interviewing more than one member in a household, since persons 

who live together also share and determine each other’s activities to a greater extent than do people who share space 

in the same neighborhood. 

Methods for measuring the effect of this clustering (described as the design factor) are: (1) to treat the total sample 

as a series of random samples of half the size of the total sample; and (2) to observe how much larger the sampling 

variance for this half-sample is than the theoretical figure described here. In other words, the total sample of 12,736 

would be randomly divided into half-samples of about 6360 respondents each and the variations in estimates for 

these half-samples would be compared to the variation expected theoretically. 

For the present study, 16 such half-samples were generated. In the case of jazz perlbrmances, the first half-sample 

chosen at random produced an estimate of 11.2% attendance at jazz performances, or 0.6% more than the overall 

average of 10.6%. The remaining 15 half-samples respectively produced the following figures: 10.9%, 10.5%, 

10.6%, 10.3%, 9.9%, 10.3%, 10.3%, 10.5%, 10.3%,9.7%, 10.8%, 11.7%, 10.7%, 11.4% and 11.3%. These 

16 estimates are clearly rather close to the observed average of 10.6%. But are they as close as the theoretical 

sampling formulas for this sample size would predict? 

That is estimated from the sum of each of the half-~mples. The variation from the overall average for the first 

half-sample is 0.6 %, as noted above. The variations from the overall average of the 15 remaining half-samples are, 

respectively: 0.3%, 0.1%, 0.0%, 0.3%, 0.7%, 0.3%, 0.3%, 0.1%, 0.3%, 1.1%, 0.2%, 1.1%, 0.1%, 0.8%, and 

0.7 %. The average deviation for these 16 figures is about .45 %; the standard deviation from the statistical formulas 

is 0.53%. In contrast, the theoretical figure for a completely random sample of 12,736 is 0.27%, which is about 

half as large as the figure that is observed. 

Therefore, we estimate that the overall design factor due to sample clustering is the ratio of 0.005310.0027, or 1.96. 

This means that the sample may be about 50% less efficient than an unclustered random sample of the same size. 

Thus, the effective sample for this question is only about half as large as the number of people actually interviewed. 

The design factor shown for several other questions in Table 2.3 also have ratios of about the same magnitude, but 

some design factors are considerably higher, with a few being below 2.00. The overall average design factor is 

only 2.18, which is more than double the estimates from simple random sampling and this design factor needs to 

be applied to the estimated errors from simple random sampling. 
 

 

 

 

 

Appendix Table G.I
 

SAMPLING ERROR CALCULATIONS -- 1992 SPPA Data
 

Theoretical Observed
 

Benchmark Activities: Sampling Error SE Design
 

(n=12,736) Rate: (n=12,736) (6,368) Factor* (t2)
 

Jazz  ̄ 106 .0027 .0053 1.96(1.4)
 

Classical .125  ̄0029 .0073 2.52(1.6)
 

Opera  ̄033 .0016 .0032 2.00(o.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 (ha)
 

Read literature.542 .0044 .0091 2.07(2.4)
 

Historic sites .407 .0043 .0111 2.58(4.1)
 

Arts/crft fairs.345 .0042 .0104 2.48(4.4)
 

TV Jazz .209 .0036 .0057 1.58(1.9)
 

Other Activities: (n=5940) (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
 

IDesign factor = (Design Effect) * 1⁄2.
 

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.
 
Appendix H 

Areas For Additional Research 
Areas For Additional Research 

The present analysis presents only some brief highlights from this very rich source of data on 

American’s arts participation. Only now are certain local and regional arts agencies beginning 

to examine the relevance and applicability of these data for their own communities. Data

collected in future national surveys will be able to use the 1992 and 1982-85 surveys to 

determine long-term trends in the role of the arts in the daily life of the American public. This 

is the aim of a series of research projects, based on SPPA’92 data, that has been funded by the 

Research Divisionof the Endowment. The topics focus on the following areas: 

Jazz participation 

Classical music participation 

Musical theater, operetta, and opera participation 

Plays (non-musical) participation

Dance participation 

Literature participation 

Participation via broadcast and recorded media

Arts participation via personal performance or creation 

Age and arts participation

Racial and ethnic factors inarts participation

Education, socialization, and arts participation 

Cross-over patterns in arts participation 

We should realize, therefore, that the analysis contained in this report only scratches the surface 

of the potentials of the SPPA’92 data for future art planning and development. Data tapes are 

available to the widest possible audience and community of arts planners and researchers. 

Among the further issues concerning the SPPA’92 data that could not be addressed in this 

report are adjustments of the data for income changes between 1982 and 1992 (as well as the 

changes in costs of admission to arts events, travel, child care, etc.). Adjustment analysis also 

needs to be done for the factor of education, since it appears from our analyses that arts 

participation has not kept pace with gains in the educational level of the public. 

These analyses should also make it possible to more carefully examine the age-cohort issues 

described at the end of Chapter I in the context of specific arts activities. It should be possible 

with more extended analyses to construct exact age matches in the 1982 and 1992 data sets and 

to examine differences between older and younger "baby boomers" in more detail than has 

been possible here. 

In particular, we see the needfor expanded use of the data on frequency of participation 

available for the main arts attendance questions and for viewings of video arts content. The 

demographic analyses we have presented in this report are limited in that they do not separate 

occasional from frequent arts participants, and our preliminary look at these data reveal 

important frequency differences across demographic groups and across arts activities. 

These frequency-of-participation data touch on cenu’al issues related to art~ pa~cil~ation. If 

10% of the public goes to jazz performances in 1992 as in 1982, but their average number of 
attendances drops from 4 to 2, that represents a net loss of 50% in overall arts attendance -­

and much smaller net audiences to pay for tickets and sustain live performances. 

It is unfortunate that the yearly frequency questions in 1992 cannot be directly compared to 

the monthly frequency questions in 1982-85. Indeed the 1992 annual questions do appear to 

have been successful in reducing the overall extent of participation, by reducing "telescoping" 

in reporting; the concern in telescoping is that the shorter monthly focus may cause some 

respondents to overreport participation in that context relative to asking about a longer period 

such as the year. That was in fact a major concern about the monthly question in the 1982-85 

studies (e.g. Robinson et al., 1986), with evidence that the monthly question gave estimates that 

were too high in relation to the responses to the annual questions. 

In line with that hypothesis, we find far lower estimates of numbers of annual attendances in 

the 1992 data: 

APPENDIX TABLE H-l: ESTIMATED NUMBERS OF:ANNUAL 

ATTENDANCES IN 1982 AND 1992 SPPA DATA 

(In Millions of Attendanees) 

1982 1992. 1982/1992

Monthly x 12 months = Annual Ratio 

Jazz 9.6 x 12 = 115 57 2.0 

Classical 13.8 x 12 = 166 60 2.8 

Opera 2.3 x 12 = 28 10 2.8 

Musicals 12.8 x 12 = 154 74 2.1 

Stage Play 8.0 x 12 = 96 60 1.6 

Ballet 2.5 x 12 = 30 15 2.0
 

Art Museum 24.4 x 12 = 293 164 1.8
 

Thus, for each benchmark activity, we see that the monthly (1982) data generate anmmliT~l 

estimates of total performances attended that are 1.6 to 2.8 times larger than those generated 

across the year for the annual (1992) question. While that could reflect real audience 

differences across the decade, we have reason to believe that it is the question form that is

mainly responsible for these differences and not arts participation behavior itself. 

The evidence comes from a small survey experiment conducted in April of 1993 with a sample 

of about 1000 adults in Maryland interviewed by telephone using the two different forms of 

a general participation question. Half the respondents were asked about participation using the

1982 monthly format first and then the 1992 yearly format; the other half were asked using the 

annual question first and then the monthly question. Consistent with the Table VII.1 results, 

the monthly format question in both groups (after being multiplied by 12 months) generated

annually estimates that were far larger than the yearly estimate. The ratios were 1.8 when the 
monthly question was asked fn’st and 1.6 when the annual question was asked fn’st -- values 

close to the ratios shown in Table VII.1. Moreover, there was evidence that asking the 

monthly question first not only elevated the monthly-annual projections but the annual 

estimates themselves. Thus, the monthly question clearly produces inflated estimates relative 

to annual question estimates and the inflation factor is sizeable. 

That means that with assumptions based on replicated and more detailed experimental data, one 

could generate annual frequency data from the 1982 data that could be useful in identifying 

whether the total volume of arts activity in key demographic groups (e.g. baby boomers or the 

poor) seems to have changed between 1982 and 1992. That would allow greater confidence 

in projections of how arts audiences have changed over the last decade in the present report 

and how they may change in the future. 

We should consider, therefore, that the analysis contained in this report only scratches the 

surface of the potential of the SPPA’92 data. With this series of national arts participation 

surveys, for the first time we have the ability to make detailed, national comparisons of 

patterns of participation over time.