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0 018 201Aud hence Development: An Elcmination of SelectednAna:alysis andPrediction Teen-mil:Nes Applied toSylkpaPhony anciTheatre Attentince in Four SoutheritemCit ZieS RePart #14.Nat-zional Endowment for the mtrts, Washington, DC. -Res=earchISBLIN-0-8906Q197-0Jan _ 8150p

Csiter for Cultunwal Resources, 625Broz.*adway, Knwyerk city, Ng 10012 ($2,50).Repe-orts 1Re rch TechnicaM. (143)WO: l/PCO2 Flue Postage.*Aucodience Analysis; Audiencs; *Cultural Activit =ies;Dernetograpby; Higher Educatimm; Leisure Time; *Li f.:eSty=e; *ifIcketing; Music Acivities; Orchestras;Soc-t lal SOlence Research; *S=vcioeconosnic Influericas;*Thepeater Octal Theaters

krLB STRACTSeveeeral specific objectives have had wide recogn zitionLn the arts communiirty, Panielyl to broaden ttme audience for thepperforming arts, to determinte the applicebilLity of septastieated 1.4:ols of marketing 111-t0 the Problem of generming demand for the a:_rts,ezi find the best Prodictorn of arts attendarmce, and to developmrategies that villa _appeal to those who, by.- these predirtors, az_reiewcetential attenders. Thi 8 research report Smsumarizes a sLudy=4"nducted in 2977 bl01 Alan R. hdreasen and Reltussell W. Belk. TheLnvestigators collee=cted Illele audience data irm a carefully control:ledwroup of surveys in four souithern cities (Alanta, Beton Rouge,=Plumbia, and )fernphrias), end applied to tbes data a number of=pphisticated me-6. sucw ing and narketing techni_ques to discover1 ficient and ef factitive reethodo for induciri g. marginal attenders c-oft..120 performing arts to beCokle frequent pates:mins. Although no hithwertoimntried means to ths end w%re uncovered, theais publication makesavanced techniques more Coaprehensible and accessible to artsa_.-4clninistrators. In ddition, by analyzing ckmarac:teristics that ncooveo--x do not move peopiRe to attend performing arts events, and frog thata.rialysis deriving si=rategies opable of alte.ring factors that 1oad ton-imnattendence, enciufh practical conclusions were reached to recommenda extended program of e%periantation in th_-_-e four cities studieemd.(Msz)

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Report ft14

Audieence Devwelopment:An examination of eiectedanalyslis and predition techniquesappliettl to symphor'y and theatre attendancein fouesouthern citiies

National Endowmentfor the Arts

Research DivisionJanuary 1981

U.S. DEPARTMENT OF EDUCATIONOffice et Education& Rematch and Improvement

D CATIONAL RESOURCES INFORMATIONCENTER (ERIC)

hie document hes been reproduced IRSfineived rOrn the pawn or organizationoriginating ILMinor changes have been made to imprOvetooroduction quality.

points or view or opin ione meted in this emu-ment do not necesearliy represent officialOEM positien of policy.

Audience Development :

An examination of selectedanalysis and prediction techniquesapplied to symphony andtheatre attenalancein four southern cities

National Endowment for the Arts. Washington, D.C.

This report is published by the PublishingCenter for Cultural Resources as part of apilot project supported by the NationalEn-dowment for the Arts demonstratingeconomyand efficiency in nonprofit publishing.The Publishing Center's planning, production,and distribution serVices are available toall cultural and educational groups and or-ganizations. For further information,writePublishing Center for Cultural Resources,625 Rroadway, New York City 10012 or tele-phone 212/260-2010.

Library of Congress Cataloging in Publication Data

National Endowment for the Arts. ResearchDivision.Audience development.

(National Endowment for the Arts ResearchDivision report ; #14)

Bibliography= p.1. Theater audiences. 2. Public relations

--Performing Arts. I. Title. IT. Series=National Endowment for the Arts. ResearchDivision. Research Division report ; #14.PN1590.A9N8 1981 790.2'069'B 80-600125ism 0-89062-097-0 (pbk.)

Manl;factured in the United States of America

CONTENTS

PREFACE /1) ge 4

LIST OP TAIBI,ES /page 5

LIST OF FIlaGURES /page

SUMMARY /psge 6

CHAPTERNETHODOL /page 9

CHAPTER IIPAST AND EL.TURE ATTENDANCE /tge 11

CHAPTER II=ASSOCIATION=AL APPROACH TO PLITX3RE ATTENDA1JCE 4

CHAPTER IVMANIPLILATIO:-BNS PSPROACH TO PUTAURE ATTENDANCE /pa.-se 29

APPENDIX AVARIMAX ROT1ATED FACTOR MATRIX= CORRELATIONSOF VAItIABLE WITH GENERAL LIFSTYLE FACTORS /pLfge 36

APPENDIX 13SYMPHONy ANESD THEATRE ATTENDANE TELEPHO ESURVEY QUESIONNAIRE /page 39

REPERE. page 45

BIBLI0G /page 46

REPORTS IN =HE NATIONAL NOOWbNT FOR THE ARTS F=ESEARCH DIVISION SERIES /page 47

PREFAC:-

AudiTF uLvelmenL: An Examination ofSe L_ki,y_al_&-r_s An- -I?rediction Tech-niqmes, Applea to Svaphony and TheatreAttemdw: in Pouruthern Cities is theEFIT pliorrapported by the Research

ol tW,F. Na-zional Endowment for theAr'7A1 nrcAenztang le results of studies ofamalies --a o&nsumer demand for arts andcui: sr The two previous pub-

Wasearch Division Report #4,Arts. ...E.2.1_FoirA,TILL_Radio and

anidReporence Studiesof 'Use Perfocmin Arts and Museums: ACritical RsVaew see last at the back ofthis Papbrt). Report #4 contains usefulinformation about the audience measurementprocedures utilized in the media fields ofradio and television. Report #9 is a crit-ical review of the quality and utilizationof 270 audience studies conducted by per-forming arts organizations and museums.Both reports bring together the experienceof the past to develop guidance and caveatsfor future audience studies.

This research report, #14, summarizes astudy conducted in 1977 byAlan R. Andreasenand Russell W. Belk of the College of Com-merce and Business Administration, Univer-sity of Illinois at Urbana-Champaign. Thefull report may be obtained through theLibrary, National Endowment for the Arts,2401 E Street, N.W., Washington D.C. 20506,202/634-7604. The investigators collectednew audience data in a carefully controlledgroup of surveys in four southern cities,and applied to these data a number of so-phisticated measuring and marketing tech-niques to discover efficient and effectivemethods for inducing marginal attenders ofthe performing arts to become frequent pa-trons. Although no hitherto untried meansto this endwere uncovered, this publicationmakes valuable advanced techniques morecomprehensible and accessible to arts ad-ministrators, who may well use the studyas a model in developing future marketingplans. In addition, by analyzing charac-teristics that move or do not move peOpleto attend performing arts events, and fromthat analysis deriving strategies capableof altering factors that lead to nonattend-mice, enough practical conclusions werereached to recommend an extended program ofexperimentation in the four cities studied.

Many performing arts and survey researchspecialists provided assistance with thisstudy. Among them were Micael Hardy ofthe Krannert Center for the Performing Artsat the University of Illinois:HuoghSouthernof the Theater Development Pund; Juana H.McCoy of the Memphis Arts Council, Inc.;Michael Useem of Boston University and the

4

Center for the_Study of Public Policy;William D. Wells of Needham, Harper andSteers; and Seymour Sutman of_the SurveyResearch Laboratory of the University ofIllinois; the Survey Research Laboratorysupervised the fLaldwork and prepared thedata for analysis. Fieldwork was carriedout by Joyner-Hutcheson Research, Inc.,At-lanta, Georgia.

Research DivisionNational Endowment for the ArtsJanuary 1981

LIST OF TABLES

1 Sample size by city /page 9

2 Theatre and symphony attendance

Theatre and symphony attendance

5

6

7

8 Demographic differences among leisure life-style croups /page24

9 Early interest in arts and amount of leisure time, by 3 isurelife-style group /page 26

10 Effectiveness index of symphony strat -ies, by attendance in pasttwelve months /page 32

in past twelve months /page 11

in past twelve months, by city /page 11

Planned theatre and symphony attendance,by past attendance /page 12

Distribution of respondents by lei

General life-style factors, by leisu

Famlly life-cycle stages, by leisure

e life-style group /page 15

_ife-style group /page 19

life-style group /page 22

11 Effectiveness index of theatretwelve months /page 33

LIST OF FIGURES

Acti ities and interests

Activities and interests

Activities and interests

strategies by attendance in past

of Passive Homebody group /page 16

of Active Sports Enthusiast group /page 16

of Inner-directed,Self-sufficient group /page

Activities, interests, and opinions of Culture Patron group /page 17

Activities and interests of Active Homebody group /page 18

Activities and interests of Socially Active group /page 18

SUMMARY

This study responds to several specificobjectives that have had wide recognitionin the arts community: tO broaden the au-dience for the performing arts; to deter-mine the applicability of sophisticatedtools of marketing to the problem of gen-erating demand for the arts; to find thebest predictors of arts attendance; andto develop strategies that will appeal tothose who, by these predictors, are poten-tial attenders. Such a study was neededbecause little has been known up to thepresent about why some persons become artsattenders and Others do not, and about howthe arts can attract greater patronagefrom nonattenders or infrequent attenders.

Also needed were answers to the questions:Who reSpOnds to which alterations in artsofferingS? Are all respondents presentlyattenders--which would increase an audiencewithout broadeninc it--or do attendersand nonattenders respond? And, do behaviorpredictors and strategier apply equallyto theatre and symphony, ;Drmust differentmeasurements and manipu3 ttions be soughtfor these performing arts?

Among the striking findings of the studyare the discoveries that the meat signif-icant predictors of future attendance arethe same for symphony as for theatre, andthat interest iivthe performing arts whilegrowing up ishighon the list of predictorsof adult attendance. For arts managers,the pinpointing of manipulations of artsofferings that seem to appeal equally toconcert and theatre attenders is partic-ularly significant; also significant isthe discovery that almost all manipulationseffective on nonattenders seem to work aswell on attenders, Indicating that nonat-tenders can be appealed to without discour-aging the patronage of frequent attenders.

The two strategies that appear most prom-ising for broadening both_ theatreand sym-phony audiences because of their high impacton nonattenders are offering ticket buyersa second ticket at half price and includingwell-knOwn performers in the artsevents.Symphony attenders also responded well tothe offers of half-price tickets on theday of the concert and an introductory talkthat would inform them about the program tofollow. Theatregoers responded more pos-itively to changes in type of program,specifically to being offered more musicalcomedies. Some arta managers will gainfresh insights from these findings andothers will find scientific confirmationof their practical experience. All shouldnote, however, that the study also suggeststhat many other commonly used audience de-

6

velopment techniques may be substantiallyleas effective. The methOdology of thisstudy introduces several new elements andtechniques. To the traditional approachof examining the relationships betweenarts attendance and standard demographicand sociometric measures (Marder, 1974;National Research Center of the Arts, 19767Winston-Salem/Forsyth County, 1974), thepresent study adds complex life-style andattitudinal measurements and siMultaneous-ly analyzes the relationships betweenplanned arts attendance and all the pre-dictor variables. Eric Marder's pioneer-ing work reported probable aggregate gainsor losses in arts attendance in responseto certain offerings, but did not indicatewhose attendance patterns would change.

The present study, by examining the effectsof a number of marketing strategies Onregular attenders, marginal attenders, andnonattenders, is able to report which groUpchanged and the degree of change, thusproviding insights into what will or willnot broaden the arts audience and showingthe relative eifectiveness of various stra-tegies on the several attendance groups.Through the use of recent advances inattitude measurement, life-style analysis,market segmentation, and multivariate sta-tistics, the study yields better predic-tors of future attendance, better explan-ations of responses to particular changesproposed for arts offerings, and more in-formation about who responds to thesechanges---in sum, More specific and betterways to develop audiences.

To elicit the wide range of data requiredfor these analyses, telephone interviewswere conducted with a randomly selectedSample of 1,491 respondents fourteenyearsof age and older identified by a set ofscreening questions as potential theatreor symphony attenders. The interviewscov-ered such areas as activities, interests,and opinions; attitudes toward theatre andsymphony; and a broad spectrumof offeringmanipulations. Altogether, the question-naire comprised more than 150 items. Inspite of the questionnaire's length andcomplexity, almost all respondents gaveinformative answers to almost all cluestions, demonstrating the feasibility ofpolling by telephone.

From responses to the questionnaire, re-spondents were grouped by both generalandleisure life styles and by the place theyoccupied in the family life cycle. Fur-ther questions probed attitudes towardandexpectations of arts performances, the im-portance of outcomes that would fulfillexpectations, and the importance of theopinions of significant other personsconcerning the respondents' attendance attheatre and symphony.

Sophisticated techniques of analysis ofvariance, factor analysis, and multipleregression were applied to the data inan effort to answer these questions:Does the arts audience come from a singlelife-style group, or from several? Whatpart does interest in the arts while grow-ing up play in adult arts participation?Why do individuals attend or not attendarts events? Which manipulations of prod-uct, price, and locale of arts perform-ances will be most persuasive to potentialattenders and which least persuasive?Through these analytic tools it was pos-sible to suggest new marketing techniquesthat may reach groups untapped by presentmarketing offers.

Several important conclusions emerged fromthe various analyses. First, standardsocioeconomic variables such as education,sex, income, and occupation proved rela-tively unimportant as predictors of artsattendance when the broader set of vari-ables developed in this study were includ-ed in the analyses. Also, since differentcharacteristics of the four cities understudy did not appear significant in rela-tion to_arts attendance, it is reasonableto conclude that the results of such astudy of one city can be generalizedacross several cities of varying sizes andcultural opportunities within a partic-ular region. The associational analysisimpiied clearly that certaingeneral life-style and leisure life-style groups weresignificantly more responsive than others toparticular proposals to broaden the audi-ence; and the manipulations analysis dem-onstrated that some changes in arts offer-ings, especially symphony offerings, aresignificantly more effective than othersin increasing arts attendance.

Further concerning the relative values ofa number of predictors of future theatreattendance, the study determined that fertheatre the best predictor is attitudetoward attending, followed by childhoodinterest, recent theatre attendance, andmembership in the Culture Patron life-style group. The very same variablesproved the best predictors of symphony at-tendance, followed by membership in an-other of the life-style groups, the So-cially Active, an interesting comment onthe social appeal of symphony events. Theabsence of significant differences fortheatre and symphony analyses indicatesthat combined studies of other relatedarts forms, perhaps dance and opera, arefeasible projects.

Examination of the sample by lifestylerevealed two groups disposed to attendartsevents, three not so disposed, and Oneneutral. Analysis of the sample ' responsesto over a dozen proposed alterations in arts

7

offerings clearly showed some strategiesto be potentially much more effective thanothers in increasing attendance, and onestrategy that promised to broaden attend-ance, especially for symphony. That strat-egy is the offer of second tickets at halfprice, which leads to, what is probably themost important conclusion of this study forarts managers. This offer is particularlyeffective with members of the Socially Activegroup, to whom the second ticket representsa social opportunity. The second-ticket-half-off offering should be accompanied bya concentrated media campaign stressing thedesirability of regular attenders bringingnonattenders with them on the half-priceticket. This request would not, of course,be enforceable, and admittedly the strat-egy with its promotion is acostlymeasure.Nonattenders who are brought along would,however, justify the expense if, as theregression analysis indicates, prior at-tendance is one of the strongest determi-nants of future attendance; nonattenderbeneficiaries of an occasional half-priceticket may well enlarge the regular patronsgroup later.

It is hoped that the techniques the studymakes accessible to arts managers mayserve them in their own future marketingplans. Implications of unmistakable po-tential arise from the associational ap-proach. The psychometric profiles suggeatthat, in designing programs and promotions,managers focus on specific life-stylegroups. The Culture Patron group, forexample, can be reached by cross-mailingand cross-advertising from one performingart to another; the Socially Active group,which may be expected to respond to offersand promotions that emphasize the socialdimension of arts events, can be recruitedto help in such group efforts as funddrives. Other implications of associa-tional findings indicate that managersshould focus on the best predictors oflikely attendance and use them to singleout target audiences and motivate nonat-tenders. Life styles, attitudes, andchildhood interest in the arts should pro-vide the starting point for marketing de-signs. Youth programs, youth discounts,and in-school programs, for example, prom-ise effectiveness in producing future adultattenders by stimulating young people'sinterest in symphony and theatre. Forbroadening the audience, managers shouldconcentrate on offerings which improveexpectations that attenders will like theprogram, understand it, and be stimulatedby it. They should recognize the full im-portance of pressure to attend exerted bysignificant others.

The usefulness of the present study goesbeyond its technical innovations and find-ings by pointing the way toward further

9

research in audience development. In re-gard to attitudes, for example, it must benoted that_although favorable Attitudesare significantly associated with attend-ance at arts events they do not neces-sarily cause attendance. Causation, infact, may move in the reverse directlon,With attitudes being the result ratherthan the cause of attendance; or, attend-ance may be the result ofsome other vari-able. This aMbiguity calls for furtherinvestigation. Less basic but puzzlingis a question arising from the life-styleanalysis: Why should the&imension ofSelf-confidence/Opinion leadership correlatenegatively with theatre attendance? Itwould be useful to understand the reasonfor:this finding before basing strategieson it.

There is also a need to find alternativeofferings to the second-ticket-half-offwhich will broaden the audience by exert-ing a selectively high impact on nonat-tenders. Until further investigation un-covers such alternatives, arts directorswould perhaps be best advised to focus onStrategieS suggested here which work beston nonattenders but appeal also to attend-ens. In regard to strategies, it shouldbe noted that the recOmmendations in thisstudy are based on respondents' indida-tions of planned behavior in response tohypothetical proposals, not on actual be-havior. A follow-up to the present studycould usefully explore and evaluate theextent to which planned behavior is real-ized.

It must also be observed that althoughattitude proved a significant predictorof behavior, tests of the attitude modelshowed a degree of instability. Here thenis another area that may well benefit fromfurther investigation.

Total assessment points to the need forexperimentation to ascertain the practicalvalue of the suggestions the study maY9s.Tests could be devised to explore thrl oLlt-comes of each of the major proposals of-fered here-- with before-and-after measure-ments to weigh their effects. This arguesstrongly for a program of experimentationin the four cities this study examines,because baseline measures for them havealready been developed, to:further explorethe feasibility of broadening the artsaudience.

CHAPTER ITable 1

METHODOLOGY

In order to achieve its objectives, thisstudy develops basic attitudinal, life-style, and socioeconomic data on marginaland regular attenders of two of the per-forming arts, theatre and symphony con-certs. The study was carried out in foursouthern cities chosen from among severaldozen with both a symphony and regulartheatre presentations: Atlanta, Georgia;Baton Rouge, Louisiana; Columbia, SouthCarolina; and Memphis, Tennessee. It as-sesses responses to twelve different manip-ulations in the offerings of resident sym-phony and resident theatre.

Th2_&aril21R

Data for the analysis were gathered by meansof telephone interviewS conducted withrandomly selected respondents fourteenyears of age or older from households withtelephones in the four cities. At theoutset, it was decided that a study aimedat broadening the audience should focusmainly on marginal attenders--those who donot now go frequently to theatre or sym-phony but who might be induced to do so.For this reason, those judged to have vir-tually zero probability of attending the-atre or symphony were screened out; forthe same reason, those who are alreadyfrequent attenders were intentionally un-dersampled. Undersampling was accomplishedby interviewing only one-half of those whohad attended three or more theatre or sym-phony performances in the previous year.

Screening questions defined as potential at-tenders those who had done one of the follow-ing in the last twelve months: went tolive popular or rock concerts; listenedat least ten times to classical music onradio, television, records, or tapes; vis-ited an art gallery or museum; went to alive classical music performance otherthan a symphony concert; saw a ballet ei-ther live or on television; saw one ortwo plays; went to a symphony orchestraconcert once or twice. Also included weethose who met one of the following quali-fications: play a musical instrument;ever worked for a theatre, music, or danceproduction; attended three or more liveplays sometime in their lives but not inthe past year; attended three or more sym-phony orchestra concerts sometime in theirlives but not in the past year.

In all, 3,956 residential telephone num-bers were selected for screening. Of these,

Sample size by city

Atlanta

Baton Rouge

Columbia

Memphis

357

358

385

391

23.9%

24.0%

25.8%

26.2%

Total 1,491 99.9%

44 percent were not screened either be-cause the numbers were no longer in ser-vice, the residents were not at home afterfive callbacks, or they refused to parti-cipate. Of those screened, 15 percent werefrequent attenders; in this group, 77 per-cent were frequent attenders of theatreonly, 5 percent of symphony only, and 14percentofboth. One-halfofthese frequentattendersullairedroppedfromthemeinsample.Only 14 percentofthosescreenedweredrop-ped because by the above criteria they didnot qualify as potential attenders. Screen-ing left 1,733 households designated forcomplete interviews. In each of thesehouseholds a random selection procedurewas used to pick one individual to be in-terviewed from among all household membersfourteen years of age or older. Of these, 14percent were unavailable or refusedto par-ticipate in the main interview, yieldinga final sample of 1,491, divided by cityas shown in Table 1.

Comparisons with available census data sug-gest that the sample population is younger,better educated, from ahigher income level,and substantially more often female thanthe general population of the four cities.These differences are consistent with thosefound in other studies using telephone inter-viewing, and are also consistentwith thescreening out of those with zero probabil-ity of attending arts events.

The questionnaire

Respondents in the study were asked exten-sive questions about their attitudes andbehavior toward theatre and symphony, as-pects of their leisure and general lifestyles, and their socioeconomic character-istics. (Appendix B gives the question-naire in narrative form.) The questionswere developed from other research studies,

ii

from introspection, and from severalfocus-group interviews with frequent and infre-quent arts attenders. The questionnairewas pretested with a sample of thirty respond-ents in Memphis. Becauseof the length ofthe questionnaire only one-third of the mainsample in each city was asked about theirattitudes toward attending the theatre,another third was asked about their atti-tudes toward attending symphony concerts,and the final third was not asked eitherset of attitude questions.

The approaches: associational and mania-ulatiens

Two approaches to the problem 0f broaden-ing the audience for theatre and symphonywere then explored. The first, the associa-tional approach, considered which charac-teristics best predicted whether respond-ents anticipated attending theatre andsymphony in the future The second, the manip-ulations approach,exploredthe responsesof potential audiences to various modifi-cations in theatre and symphony offerings.

To find the best predictors of anticipatedfuture attendance, the associational ap-proach used stepwise regression analysisusing a battery of individual traits in7cluding demographic characteristics, priorexperience with theatre or symphony,a spe-cially developed leisure life-style char-acterization, general life-style traits,_attitudes toward theatre or symphony, andstage in the family life cycle. The bestpredictors of anticipated future attend-ance for both theatre and symphony werefound to be attitudes toward attendingthese events, prior experiences with thearts (including childhood interests), andbelonging to a leisure life-style groupcalled Culture Patrons in this report. Fortheatre theabsenceoftwogenerallife-styletraits referred to here as Traditionalismand Self-confidence/Opinion leadership in-creased the level of anticipated futureattendance beyond that suggested by thepredictor variables shared with symphony.

These findings,.although associational,suggest that leisure life.styles are a val-uable means for characterizing prospectivetheatre and symphony attenders, that is,for segmenting the market. In addition, itappears that early childhood socializationin the arts is crucial, and that greaterlikelihood of attendance is reflected inmore detailed attitudes toward theatnaandsymphony attendance. Finally, in contrastto most other past studies, purely demo-graphic or family life-cycle characteris-tics were not found to be strong predictorsof attendance.

The manipulations approach examined re-ported changes in the likelihood of future

10

theatre and symphony attendance if certainalterations were made in these offeringsor in the controllable conditions sur-rounding them. These analyses comparedtheresponsesofeurrentattenders and cur-rent nonattendersjudgedpotential attend-ers at(aJa4=dakind of culturial event.

Over a dozen different modifications com-monly used by arts managers were consider-ed in four basic areas: the event (typeofperformance, quality of performance, for-mality, and extent of learning opportuni-ties); the event's price; the event's lo-cation; and the event, its price, and itslocation in various coMbinations.

The analysiS of these manipulations Din-pointed only two strategies that appeartobe highly effective with nonattenders:offering second tickets at half price, andincluding more famous performers in theevent. For attracting symphony attenders,the next most important_strategies wereoffering tickets at half price on the dayof the program, and introducing the con-cert with a short informative talk. Thesestrategies, however, appear to have lowerimpact on theatre nonattendersi who seemmore responsive to program changes.

All of these strategies were nearly aseffective with attenders as with nonat-tenders. A search for strategies whichwould be significantlymereeffectivewithnonattenders than with offenders revealednone for theatre and for_symphony onlyone--offering choral music. The practicalvalue of this strategy for broadeningthaaudience is probably negligible, however,since it had the lowest effactivenessscoreofallstrategiesamong nonattenders.

given the paucity of significant selectivestrategies for inureasing attendance atsymphony and theatre events, the obviousimplication for managers of this analysisis that the major short-term device forhroadening the audience is to use suchhigh-impact strategies as occasionallyoffering second tickets at half price orscheduling more famous performers. Itmust be recognized, however, that thesestrategies will increase patronage amongpresent attenders as well as nonattenders.Data from the associational analyais wouldalso encourage the use of the second ticketat half price as a way of influencing pres-ent attenders to invite nonattenders atthe reduced rate.

1 2

CHAPTER 11

PAST AND FUTURE ATTENDANCE

Fast attendano-

About 42 percent of all respondents in thestudy claimed that they had attended thetheatre in the past twelve months, andianadditional 46 percent said they hadnotat-tended theatre in the past year but hadattended at least three times in theirlives. By contrast, only 14 percent saidthey had attended a symphony concert inthe past twelve months, and 19percentsaidthey had attended at some previous time.About 10 percent of the respondents saidthey had attended both symphony and the-atre, and 54 percent said theylutdattendedneither in the past twelve months, as thefigures in Table 2 indicate. Clearly,those who are concertgoers only are asmall, exceptional group; concert attend-ance is more likely to be combined withtheatre attendance. Quite the oppositeis true of theatre attendance.

Past attendance at theatre is very similaracross the four cities in the study, butsymphony attendance is not, as shown inTable 3. Columbia has much lower concertattendance and Atlanta has somewhat higherconcert attendance than the other two cit-ies. Whether these differences are due todifferences in the kinds of people in theseveral cities or to differences in theircultural environments, such as quality andavailability of performances, is an issuewhich will oeme up again in later multi-variate analyses.

Future attendance

Even though only individuals judged to bepotential attenders based on their answersto questions about past attendance andother behaviorswere included inthil study,it was not expected that they wouli all belikely to.attend in the next year or two.Clearly, if a respondent was not verylikely to attend, questions about attend-ing more or less often if certain changeswere made in theatre and symphony offer-ings were not likely to yield meaningfulresults. Therefore, respondents were fur-ther screened on their anticipated like-lihood of attending theatre or symphonyconcerts "in the next year or two." Theproportion_saying they were very likely orsomewhat likely to attend was 21.2 percentfor theatre only, 22.8 percent for theatreand symphony, and 6.0 percent for symphonyonly. Fifty percent said they were notvery or not at all likely to attend eithertheatre or symphony.

11

Table 2 Theatre and symphonyattendance inpast twelve months

Theatre

Theatre and

Symphony

None

No answer

symphony

492 32.0%

148 9.1%

60 4.0%

800 53.1%

Total 1,491 99.9%

Table 3 Theatre and symphonyattendance in pasttwelve months, by city

Theatre Symphony

Atlanta

Baton Rouge

Columbia

Memphis

42.0%

4%

44.5%

39.4%

The proportion who anticipated attendingsymphony only is about the same as the pro-portion who said they had attended only sym-phony in the past twelve months. Similarly,the proportion who anticipated attendingneither symphony nor theatre is about thesame as the proportion who said they had _t-tended neither in the past twelve months.

There is a marked shift, however, from"theatre only" to joint theatre and sym-phony attendance. Although this shift doesnot affect the number who are planning toattend theatre, it has marked effects onthe number who are planning to attend sym-phony concerts in the next year or so.

3

Table 4 Planned theatre and symphony attendance by past attendance

Past theatreattendance

Pastsymphony

theatre andattendance

164 34.1% 15 10.2%

25 5.2% 12 8.2%

118 24.5% 97 66.0%

174 36.2% 23 15.6%

481 100.0% 147 100.0%

12

14

To see where this shift is coming from,past and planned future attendance arecontrasted in Table 4. Here it is evidentthat the most stable groups are those whogc, to both art forms or to neither ; in eachcase , about two-thirds say that they willcontinue their past patterns. The remain-ing categories are much more volatile.Only 18 percent of the symphony-only pa-trons and 34 percent of the theatre-onlypatrons indicate that they will continueexactly the same attendance patterns.Nearly half of the symphony goers say theywill add theatre attendance, and nearly aquarter of the theatre attenders say theywill add symphony. By contrast , about one-quarter of the symphony-only attenders andover one-third of the theatre-only attend-ets will drop out of the market altogether.

Put another way, those who attended boththeatre and symphony appear more likely toremain loyal to each performing art thanthose who attended only one of the artforms . Of those who said thew had attendedonly theatre in the past twelve months,58.6 percent said they planned to attendtheatre in the next year or two, and 29.7percent said they planned to attend sym-phony. Of those who reported attendingonly symphony in the past twelve months,66.7 percent planned to attend symphonyagain in the next year or two, and 58.3percent planned to attend theatre. Of thosewho reported attending both theatre andsymphony, however, 76.2 percent planned toattend theatre and 74.1 percent planned toattend symphony. This high likelihood offuture attendance on the part lof those iwithinterest in more than one cultural art isa finding that will be reflected in lateranalyses.

Total

314

89

340

744

21.1%

6.0%

22.9%

50.0%

1,487 100.0%

13

The problem of where the "new" symphony at-tenders come from is not yet resolved. Ful-ly 65 percent of those who say they willgo to the symphony in the next year or twodid not attend in the past twelve months.On the other hand, only 40 percent of thosewho say they will go to theatre in the nextyear or two did not attend in the pasttwelve months. What is even more surpris-ing is that of these potential "new" at-tenders , 70 percent have not attended threeor more concerts in their entire lives.The comparable figure for theatre is only12 percent. Several explanations of thisfinding are possible.

First, symphony audiences may indeed be grow-ing much faster than theatre audiences. Ac-tual attendance data in the four citieswould belie this, suggesting, as seems rea-sonable, that the "likely" attendance fig-ures are not always good predictors of actualbehavior. Second, because they consideredsymphony attendance more prestigious thantheatre attendance, respondents may havetried to impress interviewers by sayingthat they planned to attend symphony in thefuture. Some of this response bias is un-doubtedly present in the data, but that itapplies to 15 to 19 percent of the sample seemsunlikely. Finally, it may be that the poten-tial audience for symphony is much largerthan past attendance figures would suggest.

ay saying that they plan to go in the fu-ture, recent nonattenders may be merelysignaling their interest in attending ifthe circumstances are right. Such a possi-bility would predict that this group mightbe 'articularly nasponsive to :new offerings.Results of the manipulations approach pre-sented later in this report provide somesupport for this prediction.

CHAPTER III

ASSOCIATIONAL APPROACH TO FUTURE ATTENDANCE

Predictors of future tendance

As noted earlier,one approach to influenc-ing future arts attendance is to ascertainwhat characteristics are associated withsuch behavior. If some members of a par-ticular population segment show a highprobability of attendance, it may be as-sumed that nouattenders or infrequent at-tenders in that segment will be more dis-posed to increase future attendance thanwill nonattenders or infrequent attendersin segments with a low probability cl at-tendance. On this assumption, marketingefforts and dollars directed to the highprobability segment should be most pro-ductive (DiMaggio,Useem, andBrown, 1977;Smith, 1956).

Predictors examined in_earlier studies. Alarge number of audience studieehavebeenconducted in the United States in recentyears in the hope of developing such data.A detailed analysis of 270 studies of aud-iences for museams_and the performing artswas made by DiMaggio, Useem, and Brown(1977). They found that educational at-tainment, occupation, and income were sig-nificant variables in the composition ofarts audiences, whereas age and genderwerenot; that minorities were underrepresentedin audiences relative to their proportionin the population; and that audience char-acteristics have not changed significantlyover time.

These findings led the authorsofthestedyto urge further audience research applyingmore sophisticated techniques in an effortto answer three questions: Does the artsaudience come from a single group or frommany groups? How important is.early ex-perience in arts-audience participation?Why do individuals attend or not attendarts offerings?

This study seeks to answer these questionsby dividing the population into life-stylegroupings according to ueeof leisure time;by developing a broad ar.-!ay of data onrespondents' general life-style tenden-cies; by expanding the area of_sOcioeco-nomic variables with new questions; bytaking into account respondents' stagesin the family life cycle; and by probingtheir attitudes toward and expectationsof arts performances. To all these datathe study applies advanced analytic tech-niques, such as analysis of variance, fac-tor analysis, and multiple regression.

14

Life style_as predictor

in the field of marketing, the study ofconsumer life styles, or psychographicprofiles, has emerged in the past decadeas a major part of an effort to providedetailed insight into consumer decisionpatterns. A description of a consumerlife style typically notes the activitiesin which the consumer commonly participates(going to church, camping) , the consum-er's interests (liking to eat, liking totravel),_and the consumer's opinions(everything is changing too fast thesedays; children are the most important thingin a marriage) . Because of the fields ofinvestf.gation, life-style data are oftencalled activity/interest/opinion (AIO) da-ta. By constructing a broad-based life-style.profile, the market researcher's in-tent is to show how the consumption of aparticular product or service fits intothe context of the consumer's way of life.

Besides the expanded perspective on con-sumption given by life-style analysis,these descriptions often provide projec-tions of consumer purchase choices thathave greater depth and clarity than thosebased on simpler demographic information.Among the product and service choicesuthichhave benefited from life-style analysis arebank charge cards, department stores,clothing sales, and television programs.

The methods used in obtaining psychographicprofiles are varied, but they usually in-volveaskinoalargenumber ofpeople,oftenoveronethousand,to_respondto alarge num-ber of scaled activity/interest/opinionquestions, oftenoveroneYnindred. Questionsmay involve either general life style, inwhich case they are often drawn from apool of more or less standard items, or alife style specific to the consumptionarea under study, in which case the itemsmust be specially developed.

Consumer responses to the AIO questionsmay be analyzed in several ways. The mostdirect way is simply to profile the re-.sponses of users versUs nonusers of a prod-uct or service, for example, those withand without bank charge cards. More typ-ically, however, life-style dimensions aredeveloped through such a procedure as R-type factor analysis in order to combineAIO items into underlying dimensions. Itin also common to use a cluster analysiS,or Q-type factor analysis, to group re-spondents into life-style categories. Q-type analysis measures similarities amongpeople; R-type analysis measures similari-ties among characteristics. The presentstudy employs both procedures. In eithercase, the reduced life-style dimensions orgroups are then related to the choice orpreference behavior Of interest in order

to examine the impact of life sryle onthese consumption responses.

To the marketing practitioner, analysisof consumer life styles offers a meansfor probing into reasons for consumerchoice more deeply than that provided bystandard demographic variables such asage, income, and family size. This deeperawareness of how consumer purchases fitinto or reflect individual life styles canoffer major insights for programs designedto communicate more effectively with theseconsumers.

In the present study, consumer life styleis measured at two different levels: theindividual's use of leisure time, or whatmay be called "going-out behavior," andthe individual's more general activities,interests, and opinions in which the lei-sure activities are imbedded.

Leisure characteristics

The first life style analyzed was based onresponses to a set of fifty questions aboutleisure-time activit.ies, interests, andopinions. These data were then used togroup respondents ino leisure-specificlife-style categories. For the leisurelife styles, Q-type factor analysis was per-formed on the answers to these fifty ques-tions to grout) respondents into unique lei-sure-time use categories, recognizing thatthis procedure does some disservice tothose respondents with mixed life styles.

In developing the leisure life-style groups,a number of different possible groupinasfrom the Q-type factor analySis were exam-ined, and these solutions were tested forstability between two randomly chosenhalves of the sample. A solution was se-lected that partitioned the populationinto six unique clusters. Names for eachgroup and the distribution of respondentsaCross the groups are given in Table 5.Because of the special nature of the pres-ent sample, the proportions in Table 5 arenot projectable to the general populationsof the cities in this study. Thus, forexample, we cannot say that 20 percent ofall those over age fourteen in the fourcities are Passive Homebodies. FiguresI-VI present activities, interests, andopinions that are most and least tyPicalfor each group.

15

Table 5 Distribution of respondents,by leisure life-style group

295 19.8%Passive Homebody

Active Sports Enthusiast

inne--directed,Self-sufficient

285

216

19.1%

14.5%

Culture Patron 295 19.8%

Active Homebody 190 12.7%

Socially Active 210 14.1%

Total 1,491 100.0%

Figure I Activities and interestsof Passive Homebodygroup

The six leisure life-style groups may becharacterized as follows:

Passive. Homebody. Thisgroupprefersfaatily-and home-oriented activities. Its memberswatch a great deal of television, do notcare for parties, have essentially negativeattitudes toward cultural organizationsand activities, and, in fact, tend to avoidnearly any such activity outside the home.These people recognize that they are home-bodies, and that their days are routineand filled with unused leisure time.

Active Sorts Enthusiast. In many waysthis group is the antithesis of the pre-vious group. Members take part in manyactive sports, such as tennis and bowling,and engage in other activities away fromhome, such as movies, parties, and spec-tator sports. They strongly deny thatthey are homebodies or like to spend a

16

Figure II Activities and interestsof Active SportsEnthusiast group

quiet evening at home. However, they arelike the Passive Homebodies, but more ex-treme, in their negative attitudes towardtheatre, symphony, and other cultural ac-tivities.

Inner7directed, Self-sufficient. Membersof this group are best characterized bytheir participation in a number of home-oriented activities such as gardening,reading, and craft projects. They arefamily-oriented and prone to undertake out-door activities such as hikes and picnic.They are inactive concern:Lng cultural ac-tivities, although they are not negativetoward these activities as are the Pas-sive Homebody and Active Sports Enthusiastgroups. They are not overburdened withleisure time as is the Passive Homebody.Instead, it appears that their leisure in-terests keep their leisure time occupied,either alone or with their families.

8

Figure III Activities and interestsof Inner-directed,Self-sufficient group

Culture Patron. Members of this group ouldbe eXpected to be the best market for the-atre and symphony, since they report thatthey are now involved withtheseactivities.This is a reflection.of their general cul-tural orientation, with favorable attitudestoward and patronage of the arts in gener-al. They lack the orientation toward homeand family of the Passive Homebody and theInner-directed, Self-sufficient, and thesports orientation of the Active SportsEnthusiast. They rely very littleontele-vision for entertainment or relaxation.

LIEIAry_E2E2122(aK. Members of this groupresemble the Passive Homebody group intheir family- and home-orientation, but re-place that_group's nonactive television-watching with such activities as golf,working on the car, and gardening. Theyhave a generally negative attitude towardthe arts and do little reading, partying,

17

Figure IV Activities, interests,and opinions olCulture Patron group

or radio listening. :Phey are not very_so-cially active or media-oriented, but filltheir time with what might be called pro-ductive "tinkering" activities.

Socially Active. This last group is alsoactiVe, but in a more social vein. They giveand attend parties, eat out often, and par-ticipate in clubs and other meetings. Theyare aware of theatre and symphony offeringsand have friends who are interestedintheseactivities. Nevertheless, their patronageis not great at present. They are busy andthey do not like leisurely pursuits such asreading or spending a quiet eveningathome,nor do they participate in sports such asgolf or tennis.

In the present context, then, the CulturePatron and Socially Active groups haveleisure life styles that.appear conduciveto attending the performing arts. On the

9

Figure V Activities and interestsof Active Homebodygroup

Figure VI AcW4U0sAndintemestsofSociailleActivecroup

other hand, the Passive Homebody, ActiveHomebody, and Active Sports Enthusiastgroups appear negatively disposed towardattendance. Finally, the Inner-directed,Self7sufficient group appears generallyuninformed, and possibly neutral, aboutthe arts. These differences will proveinstructive in the analyses of future be-havior response to the manipulations tobe explained later.

General life-style _haracteristins

Differences in leisure life styles arelikely to be associated both with socio-economic characteristics and with the ac-tivities, interests, and opinions whichconstitute general life styles. Descrip-tions of general life styles were devel-oped through forty-three questions asked

18

in the study. These questions were thenfactor-analyzed to yield underlying dimen-sions along which the six groups might beexnected te vary. The method used to ac-complish this was an R-type factor analy-sis, which develops a small number of in-dependent dimensions or factors (im thiscase, six) that are highly oorrelatedwith subsets of the original forty-threevariables. It is a grouping of charac-teristics, not of people. The correlationcoefficients measuring the dearea of re-lationship between the original variablesand the six new dimensions (factors) areshown in the table in Appendix A. Thelargercorrelation coefficients for each dimen-sion may be used in labeling the factors.For instance, the first factor has highpositive correlations (over .30) withchurch-going, old-fashioned tastes, andwishing for the good old days. These andother high correlations point to variablesthat the factor most closely resembles (orin the case of negative correlations, re7sembles the opposite of); they thus aid innaming the factor, as seen in Table 6.

This six general life-style dimensions de-veloped in this study are the following:

Traditionalism. As noted, this character-istic is associated with church-going,old-fashioned tastes, a feeling that thingsare moving too fast, and a wish for thegood old days. It is also related to pref-

Table 6

erences for a traditional child- and fam-ily-centeYed home, where the man is incharge and the woman is home-oriented. Fi-nally, it includes a preference for sec,Ir-ity and a reluct.ance to take chances.

Hedonism/0 timism. This characteristicencoMpasses wanting to look attractive andperhaps a little different, wishing to tray-el around the world or live in London orParis for a year, and liking to eat. It isasSociated with the positive viewtthatorWsgreatest achievements lie ahead.

Defeatism- This characteristic is markedby a depressed outlook due to a belief thatthings have not turned out well. One'spresent life is thought undesirable; ifgiven the chance, one would do thinas dif-ferently. It is also associated with wish-ing for the good old days, thinking thingsare changing too fast, spending for today,and dreading the future.

Self-confidengpipion leadershi . Two_charactori,sti6i-seem best to desaribe thisdimension; a feeling of self-confidenceand liking to be considered a leader.

Cosmo olitanism. This factor includes apreference for big cities and an accept-ance of modern liberal ideas, such aswomen's liberation.

Outdoor interest. This dimension involvesgoing oh picnics and hiking.

General life-style factors by leisure life-style group

PassiveHomebody

Very high

Very low

Low

Very high

Very low

Very low

Inner-Active directed,Sports Self- CultureEnthusiast suff't Patron

Average

Average

Very high

Average

Iverage

Average

19

Average

Average

Low

Low

Average

Average

21

Active SociallyHomebody Active

Very low Average Average

Very high Average Averaqe

Average Average Average

Very low Very low Average

Very high Average Average

Average Average High

Attitudes toward theatre apl_ayasy=12 You would not feel that it was too formalredictors an occasion?

The life-style approach to explaining artsbehavior is a general one; it examines howdifferent kinds of arts behavior fit intomore general life patterns. Attitude re-searchers, however, focus on predictingbehavior by understanding the nature andvalue of various outcomesthatanindividualexpects from engaging in a behavior, forexample, attending theatre or symphony.Behaviors yielding positive outcomes on im-portant dimensions will be chosen; thosonot yielding positive outcomes or yieldingpositive outcomes only on unimportant di-mensions will not be chosen. This approach,following the work of Fishbein and Ajzen(19,5), Rosenberg (1956), and others, hasproved useful to marketers in predictingpurchase intentions, actual purchases ofsuch products as children's clothing (Ti-gert, 1966) and television programs selec-tion (Lehman, 1971).

In the present investigation, subsamplesof respondents were asked about their at-titudes, not toward theatre and symphony,but toward attending them. Attitudes to-ward taking an action are generally foundtobebetter-prediotorsofbehaviorthan areattitudes toward an object or event. Asexplained earlier, because of the lengthof the full questionnaire, only one-thirdof the sample was questioned on attitudesabout theatre attendance, and only anotherthird was questioned on attitudes aboutsymphony attendance. Each respondentquestioned was asked two compound ques-tions. The first was: If you were to goto a live, professional play/symphonyonn-cert in the next month or two, how likelywould it be that you would experience thefollowing:

You could get exactly the seats you wanted?

It would not take a long time to get fromyour home into the theatre/concert hall?

you would feel comfortable with the audi-ence?

You would not find the play/concert toolong?

You would feel personally involved withwhat was gOing on at the performance?

You would find your friends there?

Long before the performance day you wouldfeel pleased that you were going?

You would find the tickets inexpensive?

20

You would find the performers excellent?

You would not feel you'd spent too muchfor the occasion, that is, for tickets,travel,food.and the like?

You would like the play/program?

You would feel you understood what wasgoing on?

You would find that those you were withwere having a good time?

You would learn a lot?

You would not feel you were wa ting yourtime?

You would feel stimulated?

Respondents were asked concerning each ex-perience whether it would be "verlikely,""somewhat likely," "somewhat unlikely,"or "very unlikely."

The next question read as follows: We'velust talked about how likely it would beto experience certain things when goingto a live play/symphony concert. If youwere to go to a live professional play/symphony concert in the next month or two,how important would it be that you wouldexperience these things?

Respondents were then given the same seven-teen items as in the preceding queStion andasked whether each outcome would be "veryimportant," "somewhat important," "some-what unimportant," or "very unimportant."

Respondents gave highest importance, whenattending theatre, to play and performingcharacteristics, and to understanding whatis going on. Finding friends there, hav-ving the occasion informal, and havingthe theatre nearby appear to be the leastimportant.

There are differences acrossthefourcitieswith respect to expectations about attend-ing the theatre. These differences.appearto be greatest for Memphis. Respondentsthere are particularly likely to expectplays to be not too long, personally in-volving, performed well, anticipated withpleasure, pleasing to those going with them,stimulating, and not wasteful of their time.Memphis respondents are also likely to indi-cate that several of these attributes arenot only more expected but also more impor-tant to them. Atlanta respondents lesS Of-ten expect to find their friends at thetheatre, and more respondents in Columbia

than in other cities expect to find theplays long. In Baton Rouge, as in Memphis,respondents expected those going with themto have a good time. With respect to sym-phony concerts, the respondents again in-dicate that the performers, the program,and their understanding of what is goingon are most important factors, while find-ing friends there, having the occasion in-formal, and having the hall nearby areleast important.

There are fewer differences in expectationsand outcome importance across the four cit-ies for symphony than for theatre, but someof the differences are significant. Amongrespondents in the four cities, those inBaton Rouge more than other cities believethat it is hard to get the exact seats onewants and that one is more likely to wasteone's time and less likely to feel stimu-lated. On the other hand, Memphis and At-lanta respondents are less like:1:y to expectthat attending the symphony wouldbeawasteof time. Atlanta respondents are also lesslikely than those of other cities to ex-pect to find their friends at the symphony,but they place little importance on it.Memphis respondents place less importancethan others on having the hall nearby.

In the regression analyses which will bediscussed later, the expectation and impor-tance scores were combined to yieldan over-all score for attitude toward the act ofgoing to the theatre or to a symphony con-cert. Each individual's expectation scoreon each of the seventeen dimensions wasmultiplied by the corresponding importancescore. These seventeen products were thensummed to yield the overall individual at-titude score. This method of computationassumes that consumers permit high expec-tation scores on some important dimensionsto compensate for low expectation scoresonother important dimensions. Alternativt.combinational rules have been suggestedand are summarized by Wright (1973), buttheir predictive power has not been provenany greater. This model also takes accountof a more recent advance in attitude re-search. Fishbein (1975) has argued thatthe likelihood of engaging in a behavioris not only a function of the individual'sown attitude toward that behavior but de-pends also on what the individual thinkshe is expected to do by persons importantto him, called "significant others." Re-spondents were therefore asked to indicatehow much they agreed or disagreed with thefollowing statement:

People who are important to me think Ishould go to classical symphony concertplays.

21

The resulting att' ude model is:

L .Jk

jk

ik

likelihood of respondent k attend-ing performing art j

the importance weight given toconsequence i by respondent k

= the respondent k's belief about theextent to which attending perform-ing art j will result inconsequence

normative belief--the extent towhich respondent k perceives thatsignificant others believe he orshe should attend performing art j.

Analyses of alternative decision rules aswell as tests of the reliability of theattitude models indicate that for the pres-ent data the "extended model" does wellrelative to alternatives, and that corre-lations of all measures with future attend-ance vary considerably.across independent-ly drawn samples. Variation suggests in-stability in the attitude models, but theattitude component as a whole turned outto be a significant predictor of behaviorin the multiple regression analysis to bedescribed later.

Staein family lifeccea redictor

Social demographers offer a major alter-native to the life-style and attitudetheorists' approach. Social demographersargue that behaviors can be predicted bysocioeconomic characteristics (such aseducation), which predispose one to engagein the behavior, or which (as with income)remove constraints_that bar the carryingout of predispositions. These socioeco-nomic characteristics can be seen, then,as potential determinants of life stylesand attitudes whichmaydeterminebehavior,and perhaps, in conjunction witillifestylesand attitudes, as codeterminants.

The present study includes a wide range ofsocioeconomic measures. One combined in-dex developed from.several of these meas-ures is a family life cycle (FLO) index,based on behavioral patterns that are af-fected by the chronological stage a personoccupies in the life_cycle. Age in yearsonly approximates this chronology; a bet-ter measure is one_that takes into accountthe significant points of change in atraditional life cycle that radically altervalues (Lansing and Kish, 1957; Wells andGubar, 1966) . These stages, by groups, areseen in Table 7. These changes and the

life cycle that they imply are the following:

Xsinl. This is the first stage ofthe traditional pattern. The individual isunder forty years of age and has never beenmarried.

Young married. The first important changein the individual's life (and life style)is marriage. The individualis under fortyand has no children.

Youn arent. The next major event is thearrival of children. In this stage the in-dividual is married and has one or morechildren under six. This stage can last aconsiderable period of time.

Parent of school children. The next impor-tant event is when the children are all oldenough to be in school and both parentscanbe free for more activities outside the home.

r112.tyjmat. Eventually the children leavehome and the older married couple is againalone. In this analysis, the classifica-tion also includes married couples overforty who never had children.

Widowhood. The final stage arrives whenone of the partners dies.

It was expected that families in the middlestages of the family life cycle would besignificantly less likely to be arts at-

tenders owing to the inhibiting presenceof children and the accompanying lack oftime and money.

Predicting b -0 _ession analy!i.!

The question this study now considers iswhether these new variables are importantpredictors in multiple regression analysesof likely future symphony and theatre at-tendance. (The deficiencies in this ap-proach will be taken up later, particular-ly emphasizing that the correlations donot necessarily mean causation.) Intheseanalyses, fifty-six variables were usedto predict the likelihood of theatre andsymphony attendance.

Regarding a total prediction from thesebetween variables and the

likelihood of art attendance, one problemis that many of the variables are related.For example, as income increases, so doesthe likelihood that the spousei.s employedand so do the number of carsinithe family.The problem, then, is to conduct an anal-ysis that makes it possible to asse_s theimportance ofseveralvariablesineY:plain-ing the likelihood of attendance whiletaking account of these variables' inter-relationships. One useful technique fordoing this is stepwise regression. Inthistechnique, predictors are selected one ata time, starting with the single best pre-dictor and adding at each "step" the onevariable that most increases predictive

Table 7 Family lite-cycle stages, by leisure lite-style group

Sample

8%

10%

22%

22

accuracy. The examination process contin-ues until, finally, the best remaining pre-dictor that could be added produces no sig-nificant improvement in total predictiveaccuracy.

Theatre. Of the fifty-six variables exam-ined,- six were found to add to the predic-tion of theatre attendance likelihood atthe .05 level_of significance. These sixpredictors jointly predicted 28 pergentofthe variance in the reported likelihoodsof theatre attendance. Although this leavesthe majority ef the variance inthese like-lihoods "unexplained" (and potentially re-lated to factors notexaminedintheudy),explaining 28 percent of the variance isrelatively high for a marketing study.

The variables that aided this predictionare, in descending order of usefulness:attitude toward attending theatre; CulturePatron; interest in live theatre whengrow-ing up; theatre attendance duringpastpx;Traditionalism; Self-confidence/Opinionleadership.

Attitude toward going to the theatre is,by a substantial margin, the best predic-tor of anticipated future attendance. Notsurprisingly, the more favorableone thinksthe outcomesofattendance will be,themoreimportant these outcomes are, and the morethat significant others are seen as favor-ing attendance, the more one will reportlikely future attendance.

23

Three variables of approximately equal im-portance are the next best predictors. Allthree are measures of positive past exper-iences with the arts. Interest in livetheatre when growing up seems to_have astrong and lasting effect on anticipatedfuture attendance independent of whetherone presently has favorable attitudes to-ward attendance. Another of the best predic-tors is theatre attendance duringthepastyear, past b2havior being a good althoughnot perfect predictor of likely future be-havior. The third of the most importantpredictors is membership in the Culture:Pa-tron leisure life-style group. Ithowledgeof past attendance at several arts insti-tutions in addition to theatreplus otherinterests and opinions reflecting an arts-centered leisure life style, significantlyincreases the investigator's capacity topredict likely future attendance. Thisfinding lends support to the study's con-tention that performing arts attendancecan profitablybeseenfromits perspectivewithin particular life styles. It alsosupports the contention of DiMaggio,Useem,and Brown that "aficionados of one artsform also attend others" (1977, page 176).

Following these three positively correlatedexperience variables are two general life-style dimensions, both negatively relatedto future attendance. The negative rela-tion of traditionalism indicatesthat:thosewith old-fashioned tastes and a preferencefor a traditional family rola structureand a slow-moving life.are not likely toattend the theatre. This suggests that over-coming the inertia of traditionalpatternsmay be a major task of future promotorsanxious to broaden theatre audiences. TheSelf-confidence/Opinion leadership dimen-sion is also negatively correlated withlikely attendance, suggesting that, to asignificant number of respondentsWho liketo be considered loaders, theatre attend-ance, for some reason, is seen detractingfrom their self-esteem.

Simptany. The five variables that explainabout 29 percent of the variance in likelyattendance at symphony concerts are: Cul-ture Patron leisure life-style group mem-bership; symphony attendance during pastyear; interest in classical music whengrow-ing up; and Socially Active leisure life-style group membership. It is strikingthat although an entirely different samplewas used from that in the theatre analysis,the first four variables--those with themost weight in this equation--are preciselythe same four variables that are the mostimportant in the theatre analysis. Again,attitudes are a significant factor,althonghnot the most important variable as in thetheatre equation. Also, the three exper-ience dimensionspast attendance, inter-est in the art form when growing up, and

membership in the Clture Patron life-style group--are again.present in this setof most important predictors.

The single new variable in this eguatienis membership in the Socially Active lei-sure life-style group. It will be recalledthat this was the second group with a lifestyle positively predisposed toward thearts. This finding may lend force to theconjecture that symphony attendance forsome patrons serves social needs beyondany cultural needs it may fulfill.

Nonuseful predictors. The important var--- _ _ _

ia5le-s in the multiple regression analysisare not always identical with those insimple correlations. This is because, inthe regression analysis, information sup-plied by variables introCuced at one point

Table 8

may be highly correlated with informationsupplied by variables introduced at ear-lier points. The variables introducedlater thus do not appear as important asthey would have by themselves. It is in-teresting to consider which variables didnot enter the equations=

First, none of the standard socioeconomicvariableseducation, sex, income, occupa-tion, and so forth--turns out to be a sig-nificant predictor of likely attendancewhen attitudes and life-style factors areconsidered. Where other studies find thesesocioeconomic variables significant, itisprobably because the broader set of vari-ables added here is not included. The sec-ond factor that does not appear is demo-graphic variation, outlined in Table 2,and specifically, variations across cities.

Demographic differences among leisure life-style

Yean orpercent inoverallsample

1.9

19.7

13.1

12.1

11.7

48%

58%

$10,714

21%

37%

10%

10%

8%

8%

24

oups

Although figures indicate that Columbiahad been only half as responsive to thesymphony as Atlanta at the time this studywas made, the analysis determined thatthis difference is not strong enough toproduce a significant effect on likelyfuture attendance. This gives some con-fidence that the results reported here aregeneralizable across cities of differentsizes and different culturalopportunitiesin the South, and possibly in other re-gions as well.

I- ications of the associational a -roao

The associational approach to segmentationhas clear implications for building artsaudiences. It suggests that one shouldconcentrate on the factors now leading tolikely attendance and use them to identify

target audiences. ;here there is some op-portunity to modify these factors, theyshould be used in programs to motivate at-tendance by present nonattenders. In thepresent analysis, three factorsshowthroughfor both symphony and theatre: attitudes,life styles, and childhood interest in thearts. These three should be the startingpoint for any marketing ,r-,groach based onthis analysis.

Attitudes. How positive one expects theoutcome to be clearly affects whether onewill attend theatre or symphony. It willbe recalled that these attitude measureshad three components: expectations re-garding the lik lihood of obtaining par-ticular benefits; the importance of thosebenefits; and the perception of whethersignificant others expect one to attend.Thus, one car deduce that future attend-ance may be increased and arts audiencesbroadened by any of the following threeapproaches: improving expectations aboutimportant outcomes; increasing the impor-tance weights for outcomes where expecta-tions are highly positive; or increasingthe perceived pressure to attend broughtby significant others.

e_ tations. The study found thatthere are twelve expectation dimensionson which nonattenders are significantlyless positive than attenders about out-comes from going to the theatre, and ninesuch dimensions for symphony. Further, itindicated that there are seven attributeswith average importance scores above 3.15for nonattenders for both theatre and sym-phony. If the intersectionof these twOgroups is consideredthose attributes whereexpectations are significantly low whilethe importance weight is high--fourdimen-sions are found for theatre and five forsymphony that merit attention. Improvedattendance for both theatre and symphonymay result if nonattenders become morepositive about the following: the like-lihood that they will like the particularprogram; the likelihood that they willunderstand what is going on; the likeli7hood that those with whom they attend willhave a good time; and the likelihood thatthe evening will prove stimulating.

In addition, theatre attendance might beenhanced if nonattenders felt that thecastwould include better performers, and sym-phony attendance might be increased ifnonattenders were persuaded that they werenot going to waste their time.

Increasin importances. In marketing ingeneral, increasing importance weights isa much more difficult task than changingperceptions, and often takes many years.The analysis suggests that the problem

25

7

in the arts is even more difficultbecause there are only two cases wherenonattenders report significantly lowerimportances than do attenders, and whereexpectations are also relatively high(above 3.00). Both of these cases applyto theatre: understanding what is goingonand feeling that one's companions are hav-ing a good time. That these are both di-mensions where expectations are also sig-nificantly lower for nonattenders suggeststhat they may be areas particularly ripefor promotional focus.

Increasin he im act of si-nificant others. Attenders are substantially morelikely than nonattenders to agree thatsignificant others expect them to attendtheatre and symphony. The scores for thetwo groups are as follows:

Attenders

Nonattenders

Theatre Sphoy2.29 2.54

1.99 2.04

This factor may potentially be used_to in-duce more attendance through promotionsaimed at stimulating personal influence.Promotions might show the different typesof present attenders, or might encouragepresent attenders to bring nonattenderstoperformances. The latter is a suggestionthat will be discussed more fully later.

Focus on s ecific ieisurelife-st -ou

As any arts administrator knows, CulturePatrons are excellent prospects for attend-ance at arts events. The use of mailinglists, programs, and billboards for oneperforming art to encourage attendance atanother should be common practice in thearts, although reluctance to share mail-ing lists seems surprisingly high amongadministrators in this field. What is newand striking is the indication that like-ly attendance at symphony concerts is highin the Socially Active group. This_find-ing suggests that promotions emphasizingthe social dimensions of symphony attend-ance may bear considerable fruit amongthis group.

To focus a strategy on menibersof a specif-ic leisure life-style group, such as theSocially Active, it is useful to have suchinformation as their socioeconomic char-acteristics, media habits, and generallife-style tendencies. No significant dif-ferences emerged across the six groups inmedia habits. Tables 6-9 report those fac-tors that were significantly differentacross leisure life-style groups. These

.differences yield the following additionalinsights:

The Passive Homebodies tend to be older,with a high proportion being retiredor widowed. They are less educated and

Table 9 Early interest in arts and amount of leisure time, by leisure life-style group

Level inoverallsample

Moderate

Low

Moderate

Moderate/low

About thesame as others

26

lower in socioeconomic status than othergroups. Slightly over one-fourth of themare nonwhite, which is quite hictleamparedwith the other five groups. They are high-ly traditional and see themselvesasopin-ion leaders. They have had greater thanaverage interest in theatre and classicalmusic as children.

The Active Sports Enthusiasts as alsoseenfrom Table 6 tend more often to be teen-agers, single adults, or young marrieds,with highly educated parents. They aremore likely than the overall sample to benonwhite, to comprise a high proportion oftwo-worker households, and to work full-time at moderate-status jobs. They feelmore defeated in life and have more auto-mobiles than the sample average.

The Inner-directed, Self-sufficients tendto be married, to Nave both youngandolderchildren, to have the highest income levelof all six groups, and to have the lowestpercentage of nonwhites of the groups.They tend neither to feel defeated nor tosee themselves as opinion leaders.

The Culture Patrons are members of a high-ly distinctive group heavily representedin the earliest life-cycle stages. Theyare optimlstic, city-oriented, and_highlyeducated, with high-status occupationsbutmoderate incomes. As children, they hada great deal of interest in theatre andclassical music.

27

The Active Homebodies tend to be older mar-ried couples. Although they represent alow proportion of two-worker households,they tend to be high-income families, andthey often report that they have more thanaverage leisure time.

The Socially Actives tend to have childrensix and over. Socially Actives are alsomore likely to be retired and nonwhite.They have more leisure time than the sampleaverage,and hadavery high interest inclas-sical music and theatre as children.

These profiles suggest that if symphonymarketers wish to promote to Socially Ac-tive respondents, they should aim theirmessages toward older and retired people whoare active in giving and going to dinnersand parties, possibly portraying a visit tothe symphony with other mature, sociallyactive people as a natural complement totheir active, social life style. The study'sdiscovery that this group has_more leisuretime and presumably fewer family responsi-bilities than most other groups leads tothe speculation that they may be enlistedas workers as well as attenders at the sym-phony if taking part in a fund drive orrelated activity can be envisioned as car-ried out in the company of other matureadults and as part of an active sociallife style.

Im ortance of childhood inteperforming arts

It seems clear from the Information pre-sentented in Table 9 that early interestis a predictor of likely arts attendanceas it is of many other leisure behaviors.It appears reasonable, therefore, to sug-gest that if theatre and symphony organi-zations have not already done so, theyshould develop such offerings as activeyouth programs, young people's concerts orplays, in-school programs, and youth dis-counts. At a conference on planning forthe arts held at the University. of Illi-nois, Urbana in January 1978, Bradley Mor-ison, marketing consultant to many artsorganizations, stated his belief that thedevelopment of an active children's thea-tre program at the Guthrie Theatre in Min-neapolis was largely responsible for adrop of five years in the average age oftheatre attenders at the Guthrie between1963 and 1973. This infusion of youthfulattenders, Morison argues, is a source ofcontinuing vitality to such establishedorganizations. Constant measurement ofthe effects of youth programs thereforeseems advisable. It should also be rou-tine for performing arts organizations todevelop mailings lists of participants inschool or youth programs if this early ex-posure is to be turned into active adultpatronage of symphony and theatre. It

2 9

may also be useful to consider longer-termseries discount programs, perhaps billedas "learners' discounts," to encourageadult as well as youth patronage.

eaknesses in the a- ociational bach

One weakness in the associational approachis that it measures association, which isnot the same as causation. The implica-tions drawn above assume causation, but itis entirely possible that the causationmay be in the other direction or due to somethird variable. Attendance at theatre andsymphony may, for example, plausibly leadto favorable attitudes toward them, andnot the other way around. Further, attend-ance at theatre or symphony may have ledto attendance at other cultural institu-tions, not the reverse. Thin is somewhatless plausible, but as Ryans and Weinberg(1977) point out, very little is known abouthow people "learn" to attend arts eventsover time..The problem with this causa-tion/association ambiguity is that.itleaves unanswered the question: Will aparticular change in marketing strategycause the desired result simply becauseit is associated with the desired result?

A second weakness in the associational ap-proach is that it is Lased on a measure oflikely future attendanc that maybeapoorpredictor of actual futua attendance.

A third weakness is that this approach insome instances does not directly relate tothe marketing-mix element3 that an arts ad-ministrator can manipulate. Associationalanalysis has indicated, for example, thatif specific attitude elements were changed,a general increase in arts attendance couldoccur: but it has not said how to make suchchanges. As a consequence, thdre is nocertainty that a particular message strat-egy developed by an administrator will leadto the desired changes in the attitude ele-ments and hence to the desired behaviorchange.

28

3 0

CHAPTER IV

MANIPULATIONS APPROACH TOFUTURE ATTENDANCE

A prinOlpal concern in this study was toassess the sample's responsiveness to pro-posed changes in.offerings made by theperforming arts in the communities understudy. To do this, a series of "what if"statements was constructed, embodying newofferings that had been tried in certaincommunities and that could be explainedto respondents in telephone interviews.

It is essential to point out at this junc-ture that "what if" questions are biasedpredicators of actual short-run behavior.Respondents are speculating on their fu-ture behavior with respect to hypotheticalalternatives. The likelihood of theircarrying through their speculation shouldthe alternative be introduced is low. Forthis reason, the responses reportedinthefollowing discussion cannotbe consideredgood predictors of absoluteresponselevels.

It is still useful to ask about hypothet-ical offers, however, because it may beassumed that whatever bias is found in theanswers is constant across the hypotheti-cal offers. That is, if the responsetohy-pothetical offering X is greater than theresponse to hypothetical offering Y, thenthe response to real offering X would begreater than the response to real offer-ing Y, although the responses to the realofferings may be lower than the responsesto the hypothetical offerings. Thisreason-able assumption permits investigators tocompare similarly biased offerings. Thisis, indeed, the objective: to discoverwhich offerings promise relatively moreeffectiveness in broadening the audiencefor the performing arts.

Th0 marketing strategies of major businessorganizations revolve around manipulationsof what one author has called "the fourP's" (McCarthy, 1971):

Product: what products and services areoffered

Price: what level and conditions of re-tail cost are established

Place: where and how the products andservices are offered

Pro o ion: where and how information andattitude-change messagesabout the offerings are com-municated

29

In the context of telephone interviews, itwas not possible to manipulate the promo-tion element of the mix of marketing vari-ables. However, the following variableswere manipulated: product variables,which were type of performance, qualityof performance, formality of atmosphere,and extent of learning opportunities;price variables, which were price of mul-tiple tickets for single performances,costand effort of securing tickets at regularprices, and special reduced ticket prices;and place variables, through changing thelocation of the performance. Some of thevariables were offered individually; somewere introduced in combinations either toassess interactions_or to make particularofferings more realistic.

ani ulatin _ e -roduc

Respondents were asked to state their like-ly reaction to each of the five productvariables listed above.

Type of_performance. It has been arguedthat a major vehicle for broadening audi-ences is to offer programs that wouldbetter meet the needs of infrequent at-tenders or nonattenders. Thus, in thisstudy, respondents were asked whethertheywould go "much more often," "somewhatmoreoften," "as often," or "less often" ifmore of the following were offered.

Symphony: Symphonies by classical compos-ers such as Mozart and Beethoven; sympho-nies by romantic composers such as Srahmsand Tchaikovsky; music by contemporarycomposers such as Stravinsky; concertoswith soloists; choral music.

Theatre: Musical comedies such as SouthPacific or Showboat; classical clays suchas Hamlet or Macheth; well-known Americandramas such as DeatE of a Salesman or AStreetcar Named Desire; modern comediessuch as Tri_EaLlaylkas_Lply_a; original playsthat have never been done before.

Quality_of performance. Again, it has beenargued that new audiences can be attractedby the appearance of well-known performers.Respondents were asked if they would changetheir frequency of attendance in the fol-lowing cases.

Symphony: If guest conductors and famoussoloists appeared with the orchestra morefrequently.

Theatre: If famous actors and actressesappeared -ith the company more frequently.

Forma4ty of atmosphere.ManynOnattendersseem intimidated by what they think is theformality of arts performances, particular-ly at symphony concerts were respondents

asked whether they would go more or lessoften "if you knew that people were dress-ing more informally."

Extent of learnin o ortunities. Many ofthose who rarely or never go to arts eventssay they don't attend because they "wouldnot understand what was going on." Re-spondents therefore were asked whetherthey would attend more often in the fol-lowing cases.

Symphony: if there was a short introduc-tory talk about the music by the conductorbefore the performance.

Theatre: If there was a short discussionof the play by the director after theper-formance.

ani ulatin _ice

Economists argue strongly that the demandfor most goods and services is determinedlargely by price. A series of questionswas asked to test this propositionby find-ing out if infrequent attenders and non-attenders might be responsive to pricemanipulations.

Price of multi le tickets for single per-formances. Businesses often stiMulatesales by offering price reductions whencustomers buy second orkthird items. Thus,respondents were asked:

Would you go more often, much more often,somewhat more often, or less often thanyou do now if after purchasing one ticketat regular price you could get a secondticket at 50 percent off?

Cost and effort of secu tickets aular prices. Businesses have long recog-nized7that the cost of a purchase to 'aconsumer is more than the price of theproduct itself. The purchasing act in-volves seeking information beforehand,going to the selected outlet, paying forthe item, and carrying it home. To re-duce such effort costs, merchants permittelephone and credit sales and offer homedelivery. Such options are not alwaysavailable for the performing arts; although,of the cities studied, Atlanta offers tel-ephone and credit card purchases. Thus,respondents were asked whether they wouldgo more often "if tickets could be pur-chased by telephone and charged to a na-tional or department store credit card."

Manipulatiflg location

Businesses have recognized that a cost ofpurchasing by consumers in old, downtownstores is the effort to get there and, insome cases, uneasiness and fear becausesuch stores are in what is perceived as

30

an increasingly "foreign" environment.This is also a problem for many arts cen-ters and theatres located in central-cityareas. Many of them are seeking to over-come the problem by bringing performancesto the people in neighborhood schools, au-ditoriums, and theatres. The study encom-passed this alternative by asking aboutneighborhood performances. In most com-munities,however,neighborhoodperformancesare given in performing spaccs that areless adequate than downtown theatres orconcert hulls, and that may therefore do-ter many would-be patrons. To compensatefor this and to add an extra incentive,most touring companies offer some pricediscounts. To encompass all features, thefollowing alternative was presented: "Sup-pose that. . . performances were given fivetimes a year in a location nearer your home.The performing space wouldn't be as niceas[name of major theatre or concert hall incity], but the prices would be 20 percentlower. Would you go much more often,some-what more often, as often, or less oftenthan you do now?"

Combined mani ulations

Several major cities are experimentingwithdiscounts for tickets unsold on the day oftho norformance. While this represents apica aving for consumers, it usually in-vi 000rer seating. To determine thesams response to suchamarketing strat-egy, respondents were asked about theirlikely patronage under the following cir-cumstances: "Suppose that next year unsoldtickets. . . could be obtained at regularticket outlets for 50 percent off on theday of the performance. The seats usuallywould not be as good as those bought inadvance. Would you go much more often,somewhat more often, as often, or less of-ten than you do now?"

Results of rnani-ulations

All who indicated some likelihood of at-tending theatre or symphony in the nextyear or two were asked whether their at-tendance would change if several changeswere made in the offerings of these per-forming arts. Two questions are of interesthere: Are some manipulations more effec-tive than others in increasing arts atten-dance? Are some manipulations more effec-tive than others in broadening the audience?

Effect of mani-ulations on audience size.The answer to the first question is clearly"yes." Indices of relative effectivenesswere computed for twelve manipulationsforsymphony and twelve for theatre as fcillows:

Respondents saying they wouldgo"much moreoften" as a result of a manipulation werecounted as two additional attendances; re-spondents saying "moreoften" were counted

32

as one. Respondents saying they would go"less often" were counted as one fewerfuture attendance.

The resulting nuMber of net new attend-ances was dividedbythanumberof respond-ents to yield an effectiveness score forthe manipulation.

Each effectiveness score was divided bythe average effectiveness score for alltwelve manipulations and multiplied byone hundred to yield the indices reportedbelow.

These calculations make reasonable and con-servative assumptions that allow compar-isons of the relative effectiveness ofeach manipulation. The resulting indices,broken down separately for those who didand did not attend in the past year, arein Tables 10 and 11. The indicespresentedfor nonattenders show two obviously sup..-rior strategies for drawing more membersof this group to the theatre and symphony:introducing more "star" performers,_andoffering second tickets for half price.Equally potent for theatre nonattenders isthe presentation of more musical comedies.Of somewhat lesser effect for concert non-attenders are the offer of tickets at halfoff on the day of the performance, and thepresentation of a short discussion of thework before the performance.

Effect of mani _ations on audience com-position. The above strategies broadenthe audience in the sense that they havehigh impact on nonattenders, but manyalsohave high impact on attenders. To ascer-tain whether some of the strategies justdiscussed have different effects on eachgroup, direct comparisons were made of re-sponses of those who attended symphony ortheatre in the past year and those who didnot. The comparisons show that four strat-egies were more significantly effectivewith symphony nonattenders than with at-tenders: offering choral music; assuringthat people were dressing more informally;offering symphony performances five timesa year nearer home, in inferior perform-ing space but at prices 20 percent lower;and including more famous performers.

These findings present two problems. First,it should be noted that accordingtoTable10, offering choral music had the lowesttotal effectiveness of all the strategies,and nearer locations and greater informal-ity drew only average responses among re-cent nonattenders. A secondandn)ore crit-ical problem is aMbiguity regarding thedifferences mean that recent nonattendersrespcnded positively, or that recent at-tenders responded negatively. Indeed, moredetailed analyses of responses withinlife-style groups indicate that the latter may

31

be the case, at least for the "dressinginformally" manipulation.

For theatre, there was no strategy_thatwas significantly more effective with re-cent nonattenders than with recent attend-ers.

Res onses to _an u ation across life-style grop2A. As this analysiS has em-phasized thrcughout, a key to people'sresponses to arts opportunities is an un-derstanding of their leisure life styles.Since these life styles reflect generalorientations toward leisure, one might ex-pect that. responsiv.ness to the manipula-tions employed would also vary by life-style group, and, indeed,the study showedsubstantial variation.

In two cases each for symphony andtheatre,the differences across these groups inresponse to the manipulations are signifi-cant. For symphony, the significant dif-ferences were in the effectsof introducingmore choral music and of moving the per-formance nearer to the respondent's homecombined with offering a 20 percent tick-et discount. More choral music was mostattractive to Active Homebodies and leastattractive to Culture Patrons. A nearerlocation appealed to Active Sports Enthus-iasts but not to Passive Homebodies.

Res-onses to mank_ulations within life-PYle_gr2mpA. Of critic61 intereStleissue of broadening the audience is wheth-er there are also differential effects onattenders and nonattenders within eachlife-style group. To investigate thisquestion, a series of cross tabulationswas constructed comparing the responses ofrecent attenders and recent nonattenderswithin each life-style group. Infouxcasesfor symphony and two for theatre, manipu-lations yielded different effects for at-tenders than for nonattenders within spe-cific life-style groups.

For symphony, each of the four manipula-tions had more positive effects on nonat-tenders than on attenders, as seen inTable 10. However, closer examination ofthe data permits an assessment of whetherthese differences are due to the nonat-tenders responding positively to the man-ipulation or to the attenders respondingnegatively. Such an assessment is possibleby comparing the responses of attendersand nonattenders within each of the sig-nificant life-style groups with the aver-age responses of the remaining sample re-sponding to the manipulation.

This analysis revealed that for three ofthe four manipulationsthediJff.rences aredue to a below-average response to the of-fering on the part of attenders, rather

.1

than to a significantly above-average re-sponse on the part of nonattenders. Onlyfor the choral music manipulation were thenonattenders in the significant life-stylegroup, the Passive Homebodies,positivelyaffected by the offering, which Table 10shows as the weakest of the product man-ipulations. The manipulations of more in-formal dress, more famous performers, andmore contemporary music had slightly butnot significantly greater appeal to nonat-tenders than to attenders in the CulturePatron and Socially Active groups.

Thus, the life-style analysis is usefulontwo counts. It indicates not only whichgroups are affected by the manipulationbut also whether it has differential im-pact because of its attractivenessor lackof attractiveness to the attenders versusthe nonattenders in a particular segment.The findings suggest that a differentialstrategy for symphony, except perhaps forPassive Homebodies, is not likely to bewarranted.

Of the two theatre manipulations forwhichattender and nonsttender differences em-erged within life-style groups as seen inTable 11, none offers the opportunity tobroaden the audience. Analysis shows thatoffering the opportunity to buy theatretickets by telephone on credit appealsmoreto attenders than to nonattenders amongboth the Socially Active and Inner-direc-ted, Self-sufficient life7style groups.The same is true of offering more moderncomedies, which appealed more to the pre-sent attenders among the Socially Actives.

It would appear, therefore, that for bothsymphony and theatre it is not possible,except in one instance, to develop strat-egies that selectively broaden the audi-ence--that is, strategies that positivelyaffect nonattenders while not discouragingattenders. The preferred strategy for bring-ing in more past nonattenders is clearlyto offer alternatives,such as second tick-ets at half price, thathave a high tmpacton past nonattenders and also attractmorepatronage from recent attenders.

34

APPENDICES

APPENDIX A

VARIMAX ROTATED FACTOs AMU; C=ORRELATIONSOF VARIABLES WITH GEN5RALW--STITYLE FACTORS

APPENDIX

SYMPHONY AND THEATRE ATEPANC E T=ELEPHONESURVEY QUESTIONNAIRE

INItel

2

0 ,

;

:I.

PM

-

40IM1

APPENDIX A (continued)

1

Tradition- hedonism/alism Optimism

Self-confidence/OpiniOn CosmOpOli- Outdoor

Defeatism leadership tenism interest

- 04 -.02 .10 .09 .08

.07 ,01 -.09 .17 .01 .01

.35 .08 .16 .04 -.03

-.09 .21 .20 .27 .12 .10

.20 .16 .07 .11 .20 -.08

.04 .14 .05 .06 .04

.36 .00 .00 -.08 -.C1 .08

.03 .04 .31 .03 .03 ,08

.19 -.19 .35 .03 .16 .00

.07 .13 .11 .12 .16

-.10 .46 .07 .19 .05 .04

-.03 .12 .07 .06 .34 -.19

14 .23 .03 .27 .11 .25

-.18 .03 .25 .24 .25 -.01

.09 .11 .47 -.01 .01

. 0 3 32 .10 .07 .14 .11

-.19 .20 13 .04 .45 .03

-.09 .53 .18 .03 .26 -.05

.07 .39 .01 .04 -.03 .08

.35 -.10 .08 -.07 .06 -.08

.45 -.23 -.03 -.01 -.02 .07

37

3 9

APPENDIX B

SYMPHONY AND THEATRE, ATTENDANCETELEPHONE SURVEY QUEsTIONNAIRE

The telephone interview issummarizedherein a narrative form. The full report withresponses may be consulted at the ArtsEn-dowment Research Division Library.

Hello, my name is , and I amcalling from the (organization) in (pity).We are doing a study for the University ofIllinois of how people in this area spendtheir leisure time.People fourteen yearsofage or older will be interviewed in sev-eral southern communities.

A. How many people, fourteen years of ageor older, are currently living in thishousehold?

B. So that we can randomly choose whichhousehold member to interview, couldyou please tell me, starting wlth thehead of the household, the sex andageof each person fourteen years of ageor older, and their relation to the head?

(A series of coded response frequencieshere and at certain other#points in the'questionnaire allows the interviewer tosummarize and group answers.)

1. In the past twelve months , how many timesdid you: go to a live popular or rookconcert; listen to classical music onradio, TV, records, or tape; visit anart gallery or museum; go to a liveclassical music performance other thana symphony concert; see a ballet eith-er live or on TV?

2. Can you play a musical instrument?

3. Have you ever worked for a theatre,music, or dance production?

4. a. In the past twelvemonths, how manytimes did you go to see a T;Ilay?

(Unless answer is none, skip to Question 5)

b. Have you attended three or more liveplays some time in your life?

(If no, skip to Question 6a; If yes,skip to Question 7)

5. In the past twelve months, how manytimes did you go to a symphony or-chestra concert?

(If none, skip to Question 7)

6 a. In the past twelve months,howmanytimes did you go to a symphony or-chestra concert?

(Unless none, skip to Question 8)

b. Have you attended three or more sym-phony concerts some time in your life?

(If yes skip to Question 9)

(End interview if all zeros,otherwise skiptoQuestion 9; also end interview if any answeris three or more and last digit of phonenumber is even.)

7. Now I would like you to think aboutthe last time you went to a play.

a. How much did one ticket cost? (Ob-tain amount or allow don't know)

b. Did you or anyone in your house-hold pay for that ticket? (Yes or no)

c. Besides the ticket, how much wouldyou say the occasion cost yourhousehold? Please include itemssuch as babysitters, travel, park-ing, food, drinks, etc. (Obtainamount, or allow nothing or don'tkaow; if nothing , skip tc0(Dalmation 9 )

d. How many people's expenses didthis cover?

8. Now I would like you to think aboutthe last time you went to a symphonyconcert.

a. How much did one tichet uost? (Ob-tain amount or allow don't know)

Did you or anyone in your house-hold pay for that ticket? (Yes or no)

Besides the ticket, how much wouldyou say the occasion cost yourhousehold? Please include itemssuch as babysitters, travel, park-ing, food, drinks, etc. (Obtainamount, or allow nothing or don'tknow; ifnothing, skip to Question 9)

d. How many people's expenses didthis cover?

(Ask everyone):

9. Eor each of the following activities,please tell me how often you do it:go bowling, travel by airplane otherthan for business, go to a sportsevent, watch a sports event on TV,give or attend a party, go out todinner at a restaurant, go to ameeting of a social or service club,

384 0

play tennis, go on a picnic, work onan arts or crafts project of your own.,go to church or synagogue, read a bockfor pleasure, see a movie in a movietheatre, do yard work or gardeningoutdoors, play golf, work on your car,watch TV other than sports events, gohiking. (Indicate often, sometimes,seldom, never, or don't know)

10. a. If you were making plans to ge eutin the next month, from whatsourceswould you get information aboutwhatentertainment was available; news-paper ads, radio, TV, friends, news-paper articles, mail material, pos-ters and leaflets, other sourcesthat you can specify? (Circle asmany as apply)

b. Which newspapers, if any, do youread regularly? (Obtain names orallow none)

11. a. How interested were you in livetheatre when you were growing up?

b. Hew interested were yOur parentsin live theatre whe-1 you were grow-ing up?

c. Hew interested were you in classi-cal music when you were growingup?

d. How interested were your parentsin classical music when you weregrowing up?

(For 11 a, b, c, and d,indicate veryinterested, somewhat interested, notvery interested, not at all interested,or don't know)

How much leisure time would you sayyou have compared to other people youknow? (Indicate much more , a little more,about the same, a little less, a lotless, or don't know)

3. If you were to go to a live, profes-sional play in the next month or two,how likely would it be that you wouldexperience the following: you couldget exactly the seats you wanted; itwould not take a long time to get fromyour home into the theatre; you wouldfeel comfortable with the audience;you would not find the play too lona;you would feel personally involvedwith what was going on at the perform-ance; you would find your friends there;you would feel pleased long before theperformance day that you were going;you would find the tickets inexpensive;you would not feel that it was too for-mal an occasion; yeu would find theperformers excellent; you would not

39

feel you'd spent too much for the oc-casion, that is, for tickets, travel,food, and the like; you would like theplay; you would feel you understoodwhat was going on; you would find thatthose vou were with were having a goodtime; you would learn a lot; youwouldnot feel you were wasting your time;you would feel stimulated? (Indicatevery likely, somewhat likely, some-what unlikely, very unlikely,or don'tknow)

14. We've just talked about how likely itwould be to experience certain thingswhen going to a live play. If youwere to go to a live, professionalplay in the next month or two, howim ortant would it be that you wouldexperience these same things? Whatabout: being able to get exactly theseats you want; not takiziga long timeto get from home into the theatre;feeling comfortable with the audience;not finding the play too long; feelingpersonally .involved in what's going onat the performance; finding your friendsthere; feeling pleased long before theperformance day that.you were going;finding the tickets inexpensive; notfeeling that.it was too formal an oc-casion; finding the performers excel-lent; not feeling you had spent toomuch for tickets, travel,food, andthelike; liking the play; feeling youunderstood what was going on; findingthat those you were with were havinga good time; learning a lot; not feel-ing that you were wasting your time;feelingstimulated?(IndicateverTimpor-tant, somewhat important, somewhat un-important, very unimportant, neutral,or don't know)

15. If you were to go to a symphony con-cert in the next month or two, howlikely would it be that you would ex-perience the following: you could getexactly the seats you wanted; it wouldnot take a long time to get from yourhome into the concert hall; you wouldfeel comfortable with the audience;you would not find the concert too long;you would feel personally involvedwithwhat was going on at the performance;you would find your friends there;you would feel pleased long before theperformance day that_you were gOing;you would find tIm tickets inexpensive;you would not feel it was too formalan occasion; you would find the per-formers excellent; you would not feelyou'd spent too much for the occasion,that is, for tickets, travel,food,andthe like; you would like the program;you would feel you understood whatwasgoing on; you would find that those

you were with were having a good time;you would learn a lot; you would notfeel you were wasting your time; youwould feel stimulated?(Indicate verylikely, somewhat likely, somewhat un-likely, very unlikely, or don't know)

16. We've just talked about how likely itwould be to experience certain thingswhen going to a symphony concert. Ifyou were to go to a symphony concertin the next month or two, how impor-tant would it be that you would exper-ience these same things? What about:being able to get exactly the seatsyou want; not taking a long time toget from home into the concert hall;feeling comfortable with the audience;not finding the concert too long;feel-ing personally involved in what s goingon at the performance; finding yourfriends there; feeling pleased longbefore the performance day that youwere going; finding the tickets inex-pensive; not feeling that it was tooformal an occasion; finding the per-formers excellent; not feeling you hadspent too much for the occasion, thatis, for tickets, travel, food,and thelike; liking the program; feeling youunderstood what was going on; findingthat those you were with were having agood time; learning a lot; not feelingthat you were wasting your time; feel-ing stimulated? (Indicate veryimportantsomewhat important, somewhat unimpor-tant, very unimportant, neutral, ordon't know)

17. a. How likely do you think you are toattend a symphony concert in thenext year Or tWO? (Indicate very like-ly, somewhat likely, not very like-ly, or not at all likely; if notvery likely or not at all likely,skip to Question 25)

b. About how much would you expect topay for a ticket to a symphony or-chestra concert? (Obtain amount orallow don't know)

How would you describe the qualityof a typical concert? (Indicate excel-lent, good, fair, poor, or don'tknow)

d. About how many minutes does it taketo get from your home to [name ofconcert hall]? (Obtain time,or allowdon't know)

18. Now I'm going to suggest some differentkinds of symphony offerings for you toreact to. If these offerings weremade,would it affect how often you go tosymphony?

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a. Suppose that next year unsold tick-ets for performances of theSymphony could be obtained at reg-ular ticket outlets for 50 percentoff on the day of the performance.The seats usually would not be asgood as those bought in advance.

b. Suppose that symphony performanceswere given five times a year in alocation nearer your home. Theperforming space wouldn'tbe as niceas [name of concerthall] but the prices would be 20percent lower.

(Indicate would go much more often,somewhat more often, as often,lessoften, or don't know)

19. Now, how wouldthefollowing offeringsaffect the frequency of your attend-ance at symphony:

a. if tickets could be purchased bytelephone and chargedtoanationalor department store credit card;

b. if there was a short introductorytalk about the music by the con-ductor before the performance;

if after purchasing ono ticket atregular price you could get a sec-ond ticket at 50 percent off;

d. if you knew that people were dres-sing more informally at the con-cert;

e. if guest conductors and famous solo-ists appeared with the orchestramore frequently?

(Indicate would go muchmore often,somewhat more often, as often, lessoften, or don't know)

20. a. Do you currently subscribe to se-ries tickets symphony perform-ances? (Indic p. yesor no; if yes,skipto Quest 20c)

b. If you could g. . series ticketsguaranteeing good SnatS for qnveralsymphony performances, we.,purchase such a series if therewas a 10 percent discount; 20 per-cent discount; 30 percent discount?(Indicate yes,no,or don't knOW;when yes, circle accepted offering)

c. If you could get serieS ticketswhich guaranteed good seats forseveral symphony performances butthere was no price discount, wouldyou purchase such a series ticket?(Indicate yes, no, or don't know)

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21. a. Would you attend more nymphonycon-certs than you do now if individualticket prices were reduced by $1;reduced by $2; reduced by $3? (in-dicate yes,no,or don't know; whenyes, circle accepted offering)

b. Would you attend fewer concertsthan you do now if individualtick-et prices were increased by $1:increased by $2; increased by $3?(Indicate yes, no,or don't know;whenyes, circle accepted offering)

22. If the symphony concerts were to in-clude more of the following kinds ofmusic, would that affect how oftenyou would go? What about: symphoniesby classical composers like Mozartand Beethoven; symphonies by romanticcomposers like Brahms and TchaikovskY;music by contemporary composers likeStravinsky; concertos with soloists;choral music?(Indicate would go muchmore often, somewhat more often, asoften, less often, or don't know)

23. Of these five types of music, whichone is your favorite: classical sym-phonies; romantic symphonies; contem-porary classical music; concertos;choral music; or some other type ofmusic that you can specify? (Circlepreferred type; if don't know, skipto Question 25)

24. Let's suppose that your favo ite kindof music was presented more oftenduring the year, but ticket priceswere raised. Would you go to the sym-phony less frequently than you do nowif ticket prices were increased by$1;increased by $2; increased by $3?(Indicate ves, no, or don't know;when yes, circle offering)

25. Please tell me the extent to whichyouagree or disagree with the followingstatements: I have more spare timethan I need; if cultural organizationscannot pay their own way, they shouldgo out of business; I like to attendsporting events; I have somewhat old-fashioned tastes and habits; I liketo be considered a leader; many of myfriends are interested in the theatre;I wish I could leave my present lifeand do something entirely different;our family is a close-knit group: mydays seem to fellow a definite rou-tine, such as eating meals at the sametime each day; shopping is no fun; theschools in this area provide adequateopportunity for children to participatein the arts and cultural activities; Ioften wish for the good old days; Iusually know which plays are being

performed around here; I work_undergreat deal of pressure most of thetime; I watch TV in order to relaxquietly; everything is changing toofast these days; people tell me Iam good looking; every home withchildren should have a complete setof encyclopedias; a woman's placeis in the home; I enjoy jazz music;I'd rather read a good book than anewspaper; American-made is the bestmade; the father should be the bossin the house; I enjoy many foreignfilms; I am interested in the cul-tures of other countries; I willprobably have more money to spendnext year than I do now; people whoare important to me think I shouldgo to classical symphony concerts;most of my friends have graduatedfrom college; I will probably moveat least once in the next five years;I would like to take a trip aroundthe world; I'd pay extra for highquality television programmino;children are the most importantthing in a marriage; my greateStachievements are ahead of me; wehave more to spend on extras thanmost of our neighbors; on a vacation,I just want to rest and relax; thearts are more important to me thanto most other people; I am the kindof person who would try anythingonce. (Indicate strongly agree,agree, disagree, strongly disagree,or don't know)

a

26. a. How likely do you think you are toattend a live professional theatreperformance in the next year ortwo? (Indicate very likely, some-what likely, not very likely, ornot at all likely; if not verylikely 0r not at all likely, skipto Question 34)

b. About how much would you expecttopay for a ticket to a theatre per-formance at (name of theatre)?(Obtain amount or allow don'tknoW)

c. How would you describe the qualityof a typical performance there?(Indicate excellent, good, fair,poor, or don't know)

d. About how many minutes does ittake to get from your home to [nameof theatre]? (Obtain time, or al-low don't know)

27. Now I'm going to suggest some differ-ent kinds of theatre offerings foryou to react to. If these offeringswere made, would it affect how oftenyou go to theatre?

41

43

a. Suppose that next year unsoldtickets for theatre performancescould be obtained at regularticketoutlets for 50 percent off on theday of the performance. ThE seatsusually would not be as good asthose bought in advance.

b. Suppose that theatre performanceswere given five times a year in alocation nearer your home. Theperforming space wouldn't be asnice as [name of the-atre] but the prices would be 20percent lower.

(Indicate would go much more often,somewhat more often, as often, lessoften, or don't know)

28. Now, how would the following offeringsaffect your attendance at theatre:

a. if theatre tickets could be pur-chased by telephone and charged toa national or department storecredit card;

b. if there was a short discussion ofthe play by the director after theperformance;

if after purchasing one ticket atregular price you could get a sec-ond ticket at 50 percent off;

d. if you knew that people were dress-ing more informally at the theatre;

e. if famous actors and actresses ap-peared with the company more fre-quently?

(Indicate would go much more often,somewhat more often, as often, lessoften, or don't know)

29. a. Do you currently subscribe to ser-ies tickets for the theatre? (In-dicate yes, no, or don't know; ifyes, skip to Question 29c)

b. If you could get series ticketsguaranteeing goodseatsfor severalplays, would you rurchase such aseries if there WAS a 10 percentdiscount; 20 percent discount; 30percent discount?(Indicate yes,no,or don't know; when yes, circleoffering)

c. If you could get series ticKetswhich guaranteed good sears forseveral plays but thee was noprice discount, would you purchasesuch a series ticket?(Indicate yes,no, or don't know)

a. Would you attend more plays thanyou do now if ticket prices were

42

reduced by $1; reduced by $2; re-duced by $3?(Indicate yes, no, ordon't know; when yes, circle of-fering)

b. Would you attend fewer plays thanyou do now if ticket prices wereincreased by $1; increased by $2;increased by $3?(Indicate yes, no,or don't know; when yes, circleoffering)

If the theatre offerings were to in-clude more of the following kinds ofplays, would that affect how oftenyou would go? What about: musicalcomedies like South pacific or ShowBoat; classical plays like Hamlet orMacbeth; well-known American dramaslike Death of a Salesman or A Street-car Named-belre; modern come ieslike The Sunshine Boys; originalplaysthat have never-been done before?(Indicate would go much more often,somewhat more often, as often, lessoften, or don't know)

32. Of these five types of theatre offer-ings, which one is your favorite:musical comedies; classical plays;well7known American dramas; moderncomedies; original plays, or someother type of theatre offering_thatyou can specify? (Circle preferredtype; if don't know, skip to Ques-tion 34)

Let's suppose that your favorite kindof play was presented more often dur-ing the year, but ticket prices wereraised. Would you go to the theatreless frequently than you do now ifprices were increased by $1; increasedby $2; increased by $3? (Indicateyes, no, or don't know; when yes,circle offering)

34. For each of the following statements,please tell me the extent to whichyou agree or disagree: television ismy primary source of entertainment;a college education is very importantfor success In today's world; I wouldrather spend a quiet evening at homethan go to a party; I like adventuremovies; I am more self-confident thanmost of my friends are; most of thearts and cultural activities in thisarea are not for someone like me; Iam a homebody; on a job, security ismore important than money; my majorhobby is my family; I pretty'muchspend for today and let tomorrow takecare of itself; I do more things so-cially than most of my friends do; Idread the future; I like to read non-fiction books; many of my friends areinterested in symphony concerts; I

4 4

don't often listen to the radio; Iusually know which symphony concertsare being performed around here; I amusually among the first to try newproducts; people who are important tome think I should go to live plays;I like to feel attractive to peopleof the opposite sex; I can't see my-self going to an opera; I often seekout the advice of my friends regard-ing brands and products; I would rath-er live near a big city than in ornear a small town; my friends andneighbors often come to me for advice;I glance at most of the pages of thedaily newspaper; a drink or two atthe end of a long day is a good wayto relax; if I had my life to liveover I would do things differently;I want to look a little different fromothers; I go to some movies to seecertain actors or actresses; I thinkwomen's liberation is a good thing;I would like to spend a year in Londonor Paris; I like to eat; I don't liketo take chances; I would be content tolive in the same town the rest of mylife.(indicate strongly agree, agree,disagree, strongly disagree, or don'tknow)

Now, I'd like to ask you a few backgroundquestions.

35. For how many years have you lived inthe (city) area? (Obtainnumber of years Or allow don't know;note if not applicable)

36. a. Are there any children under theage of fourteen living in this house-hold? (indicate yes, no, or don'tknow; if no, skip to Question 37;also, note if not applicable)

b How many are under six yearsof age?

c. How many are six to thirteen years?

(Obtain numbers, or allow don't know;note if not applicable)

37. How many automobiles does your house-hold own?

38. What is the highest grade or year ofschool you have completed: none, ele-mentary, high school, college, somegraduate study, graduate or profes-sional degree. (Allow also don't know)

39. a. Are you presently employed full-time, employed part-time, tempor-rarily out of work, retired, notusually employed (skip to Question40), keeping house/homemaker (skipto Question 40) , or working at someother occupation you can name (skip

43

to Question 40)? (Indicate alsodon't know; note if not applicable;if retired or temporarily out ofwork, ask about last occupation)

b. what is or was your main occupationor job title?

c. What kind of work do or did youdo;that is, what are or were your du-ties on this job?

d. In what type of business or indus-try is or was this; that is, whatproduct is or was made or whatser-vice given?

40. Are You the head of this household?(If yes, skip to Question 43a; allowalso no or don't know, and note ifnot applicable)

41. What is the highest grade or year ofschool completed by the head of thishousehold; none, elementary, highschool, college, some graduate study,graduate or professional degree. (Al-so allow don't know)

42. a. Is the head of the household pres-ently employed full-time, employedpart-time, temporarily out of work,retired, not usually employed (skipto Question 43a), keeping house/homemaker (skip to Question 43a),or working at some other occupationthat you can name (skip to Ques-tion 43a). (Allow also don't know;note if not applicable; if retiredor temporarily out of work, askabout last occupation)

b. What is or was the main occupationor job title of the head of thehousehold?

c. What kind of work does or did he/she do; that is, what are or werehis/her duties on this job?

d. In what type of business or indus-try is or was this; that is, whatproduct is or was made or what ser-vice given?

43. a. What is the highest grade or yearof school your father completed:none, elementary, high school,college, some graduate study,grad-uate or professional degree. (Al-low also don't know; note if fatheris head, or if not applicable)

b. What is the highest grade or yearof school your mother completed:none, elementary, high school,college, some graduate study,grad-uate or professional degree. (Al-

4 5

low also don't know; note if motheris head, cr if not applicable)

44. a. What is your marital status? Areyou married, separated, divorced,widowed, or never married? (Unlessmarried, skip to Question 45; al-low also don't know and note ifnot applicable)

b. Is your spouse employed? (Allowyes, no, or don't know; note ifnot applicable)

45. What is your racial background? (White/Caucasian, Black/Negro/African-Amer-ican, Oriental/Asian-American, Mexi-can-Amerin/Puerto Rican/LatinAmer-ican, American Indian/Native American ,

or other that you can specify; don'tread categories unless respondentdoes not understand; note alsO ifnotapplicable.

46. Considering all of the income fromemployment and from allother sourcesof everyone in your household, wasyour total household income beforetaxes last year: more than $7,000;more than $10,000; more than $12,000;more than $15,000; more than $20,000;more than $25,000; more than $50,000?(Indicate yes, no, or don't know;when no, circle amount; note alsowould not state income)

Thank you for your cooperation.

44 4 6

REFERENCES

1. DiMaggio, Paul; Unseem, Michael; andBrown, Paula. The American Arts andBehavior: Its Sf54777iiiaIts Charac-ter. Cambridge, Mass.: Center for theStUdy of Public Policy, 1977.

2. Fishbein, Martin, and Ajzen, leek.Belief, Attitude,_intention and Be-havior: An Introduction to Theo- andResearch. Reading, _a Addison-Wesley, 1975.

3. Lansing, John B., and Eish, Leslie."Family Life Cycle as an IndependentVariable." American Sociolo:ical Re-view, 22 (October 1957): 512-19.

4. Lehmann, Donald K. "Television ShowPreference: Application of a ChoiceModel." Journal of Marketin- Research,13 (February 1971): 47-55.

5. Eric Marder Associates, Inc. The Fi-nances of the Performin- Arts. NewYork: Ford Foundation, 1974.

6. McCarthy, E. Jerome. Basic MarkEtiall.mlna5211,1_2_,E2E2AELI. 4th ed. Home-wood, Ill.: Irwin, 1971.

7. National Research Center of the Arts,Inc. Americans and the A . NewYork: National Committee _o- CulturalResources, 1976.

Rosenberg, Milton J. "CognitiveStructure and Attitudinal Affect."Journal of AbnormalEd,2211:1_12Ry2-2kIEK, 5 November 1956) : 367-72.

9. Ryans, Adrian B., and Weinberg,CharlesB. "Consumer Dynamics in NonprofitOrganizations." Research paper No. 40,Graduate School of Business, StanfordUniversity, 1977.

10. Tigert, Douglas J. "An Investigationof Experimental Techniques to Deter-mine the Relative Importance of Var-ious Product Attributes in the Con-sumer Decision Making Process." In-stitute Paper No. 126, Institute forResearch in the Behavioral, Economic,and Management Sciences, ErannertGraduate School of Industrial Admin-istration, Purdue University, 1966.

11. Wells, William D., and Gubar, George."The Life Cycle Concept in MarketingResearch." Journal of Marketin Re-search, 3 (November 1966): 355-63.

12. "Winston-Salem/Forsyth County: Pub-lic Perspedtives on the Arts and Cul-ture." National Research Center ofthe Arts, July 1974.

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.13. Wright, Peter L. "Use of ConsumerJudgment Models in Promotion Plan-ning." Journal of Marketin 37(October 1973) : 27-33.

BIBLIOGRAPHY

1. Andreasen, Alan R. "Potential Mar-keting Applications of LongitudinalMethods." In Marketing and EconomicDevelopment, edited by Peter D. Ben-nett, pp. 261-75. Chicago: AmericanMarketing Association, 1965.

2. Baumol, William, and Baumol, Hilda.Last Minute DiscountS on Unsold Tick-ets: A Study of TIM. New York:Theater Development Fund, 1974.

12. Pessemier, Edgar A., and Tigert,Doug-las J. "A Taxonomy of Magazine Read-ership Applied to Problems in_Market-ing Strategy and Media Selection."Institute Paper No. 195, Institute forResearch in the Behavioral, Economic,and Management Sciences, KrannertGraduate School of Industrial Adminis-tration, Purdue University, 1967.

13. Plummer, Joseph T. "Life Style Pat-terns and Commercial Bank Credit CardUsage." Journal _of Marketing, 35(April 1971): 35-41.

. "Life Style Patterns: A NewConstraint for Mass Communication Re-search." Journal of Broadcasting_, 16(Winter 197-17=77)r 79-89.

3. Burger, Philip C., and Schott, Barbara. 14."Can Private Brand Buyers Be Identi-fied?" Journal of Marketing_ Research,9 (May 1572)-1-219-22.

4. Darden, William R., and Reynolds,Fred D. "Predicting Opinion Leader-ship for Men's Apparel Fashions."Journal of Marketing_Research, 9 (Au-gust 1972): 324-28.

5. Frank, Ronald; Massy, William; andWind, Yoram. Market Segmentation.Englewood Cliffs, N.J.: Prentice-Hall, 1972.

6. Good, Walter S., and Suchsland, Ho."Consumer Life Styles and Their Re-lationships to Market Behavior Re-garding Household Furniture." Michi-gan State University Research Bulle-tin, No. 26 (1970).

Huges, G. David. "Distinguishing'Salience and Valence." Paper pre-sented at the Attitude Research Work-shop, University of Illinois, 1970.

8. King, Charles W., and Sproles, GeorgeB. "The Explanatory Efficiency ofSelected Types of Consumer ProfileVariables in Fashion Change AgentIdentification." Paper No. 475, In-stitute for Research in the Behavior-al, Economic, and Management Sciences,Krannert Graduate School of Indus-trial Administration, Purdue Univer-sity, 1973.

9. May, Eleanor G. "Psychographics inDepartment Store Imagery." Workingpaper P-65, Marketing Science Insti-tute, Cambridge, Mass., 1971.

10. Newman, Danny. Subscribe Now! New York:Theatre Communications Group, 1977.

11. Nie, Norman et al. SPSS: StatisticalPackage for the Social Sciihces.-2n.-ed. New York: McGraw-Hill, 1975.

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15. Smith, Wendell R. "Product Differen-tiation and Market Segmentation asAlternative Marketing StrategieS."Journal of Marketing, 21 (July 1956):3-8.

16. Wells, William D. "Psychographics: ACritical Review." Journal of Market-ing Research, 12 (May 1975): 196-213.

17. Wilson, Clark L. "Homemaker LivingPatterns and Marketplace Behavior--A Psychometric Approach." InNew Ideasfor Successful Plarketing, edited bYJ.S. Wright and J.L. Goldstucker, pp.305-47. Chicago: American MarketingAssociation, 1966.

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REPORTS IN THE NATIONAL ENDOWMENT FOR THEARTS RESEARCH DIVISION SERIES

Since 1976 the Research Division of theNational Endowment for the Arts has beenstudying matters of interest to the artscommunity and issuing reports based onitS findings. Copies of the reportsmay be ordered from the Publishing Centerfor Cultural Resources, 625 Broadway,New York City 10012 at the prices notedbelow.

Checks should be made payable to "Pub-lishing Center." Prices include postageand handling; no state or local salestax is applicable.

#1 Employment and Unemployment of Artists:1970-1975. 32 pages. April 1976. $2.50

#2 To Survey American Crafts: A PlanningStudy. 32 pages. July 1977. $2.50

#3 Understanding the Employment of Actors.36 pages. September 1977. $2.00

#4 Arts and Cultural Programs on Radioand Television. 92 pages. September 1977.$3.50

#5 Where Artists Live: 1070. SO pages.October 1977. $3.00

#6 Economic Impact of Arts and CulturalInstitutions: A Model for Assessment anda Case Study in Baltimore. 96 pages.November 1977. $3.50

#7 Minorities and Women in the Arts: 1970.32 pages. January 1978. $2.50

#8 The State Arts Agencies in 1974: AllPresent and Accounted For. 160 pages.April 1978. $4.50

#9 Audience Studies of the PerformingArts and Museums: A Critical Review.106 pages. November 1978. $3.00

#10 Self-Employment, Migration, andHousehold and Family Characteristics ofArtists: 1970. 32 pages. November 1978.$2.00

#11 Conditions and Needs of the Profes-sional American Theatre. 120 pages.January 1980. ISBN 0-89062-076-8 $4.50

#12 Artists Compared by Age, Sox, andEarnings in 1970 and 1976. 54 pages.January 1980. ISBN 0-89062-077-6 $2.50

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#13 Craft Artist Membership Organizations1978. 32 pages. January 1981. ISBN0-89062-089-X $2.50

#14 Audience Development: an examinationof selected analysis and prediction tech-niques applied to symphony and theatreattendance in four southern cities. 48pages. January 1981. ISBN 0-89062-097-0$2.50

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Produced and distributed by Publishing Center tor Cultural Resources, 625 Broadway, New york Clty 10012. Price (Incl. postage): 2

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