This note examines data collected in the 1982 Survey of Public Participation in the Arts in terms of barriers to greater arts attendance. The note relates these barriers to two different schema for describing urbanicity: urban/rural place, and metropolitan/outside metropolitan areas. 40.6 million adults were projected to have one or both of these barriers. The relevant art activities are: attending performances of jazz music, classical music, opera, musical plays/operettas, plays, and ballet; and visiting art museums.

This book presents data on the audience for public television. Discussion includes an analysis of data on weekly usage, subscriber satisfaction, demographics of viewers (including political and social activities), and reasons for watching public television.

Results from the 1982 survey of Public Participation in the Arts are analyzed in terms of the location of the residence of the participating and non-participating publics. Data is presented for the following arts activities: attending jazz, classical music, musical plays/operetta, non-musical plays, opera, and ballet; and visiting art museums and galleries for the public living on rural farms, on rural non-farms, in metropolitan areas, outside metropolitan areas, and in the eight large cities--New York, Los Angeles, Chicago, Philadelphia, San Francisco. Detroit, Boston, and Baltimore

I would like to offer some preliminary thoughts concerning a paper entitled Consumption Skills in the Post-Modern Economy which I will present in July at the Vancouver International Conference of the Society for Education through Art. In contrast with the previous speakers, who are artists and humanists, I am an economist, and one who believes that the economy of the future will be an economy of quality. Furthermore, I believe that it will be through study of the arts, in which subtle, qualitative differences form the basis of both production and consumption, that we can better

Paper presented at the Proceedings of the Fourth International Conference on Cultural Economics held May 12-14, 1986, at the Palace of the Popes in Avignon, France.

The author examines the various reasons for audience attendance to theatres and encourages marketing techniques to reach a wider audiences.

This annual survey of a representative group of nonprofit theatres was known as the TCG fiscal survey in 1974, 1975, 1976; the TCG survey in 1977, 1978, 1979, 1980; and as Theatre facts since 1981. Theatre Facts also appears as a supplement to American Theatre magazine, usually in the April issue [This edition published April 1986, p. 18-25]. Statistics and analysis are provided for the year as well as comparisons to previous years.

Horowitz presents the history and current status of arts audience research at the National Endowment for the Arts. He discusses key policy questions that can be addressed by data forthcoming from the Survey of Public Participation in the rts and by active analyses of these data.

In this essay, the author reconsiders and reformulates the taste cultures he originally presented in Popular Culture and High Culture. He now discusses more porous cultural borders and a greater middle culture, which he examine in detail in this paper. Cultural choices are related to socioeconomic factors, and supporters of high culture, whether from the left or right, are arguing from a specific taste or culture.

Kraus focuses upon a particular audience segment, uncommitted attenders who accompany the purchase decision makers. He discusses the opportunities and strategies available to the presenter sensitive to the circumstances and likely attitudes of this often overlooked consumer group.

Major gaps in our knowledge of arts and cultural audiences can be researched using a technique common in business marketing, the consumer panel. Jeffri and Sexton alert the reader to data forthcoming from their use of a consumer panel to investigate audience behavior in relation to arts and cultural inistitutions and events. Research about arts audiences has been conducted since the 1920s and 1930s when the first museum visitor studies were compiled and the Federal Theatre Project performances of the WPA were tracked.