Alexis de Tocqueville, the liberal French aristocrat who studied American democracy during the 1830s, noted then that America's puritan simplicity and unbounded resources were more conducive to commerce than to culture. Nonetheless, he suggested, as the frontier closed and the puritan legacy weakened, the natural tendencies of democracy might bring in unprecedented public involvement in the arts. (from abstract)

Arts managers in the not-for-profit performing arts have traditionally relied on subscription sales for an assured base of ticket income independent of market interest in the institution's individual productions or events. Given the economics of the individual not-for-profit performing arts institution and the marketing resources available to it, subscriptions may be necessary.

Changing Work and Leisure Patterns Implications for the Arts: a discussion paper written by Chris Westwood and Margaret Wallace explores the patterns communities increases and decreases in work and leisure pattern effect their choices to become involved with and support the arts.

Life's spectrum is many colored - a prism made of many people with many methods of expression. For too long the disabled have been excluded from this spectrum by society's not recognizing that they too have and need diverse means of communicating. Through the arts we can reach that diversity inherent in all people.

Paper presented at Second Annual International Conference on Cultural Economics and Planning, sponsored by the Association for Cultural Economics, Mastricht, Holland, May 26-28, 1982.

Published by FEDAPT, the Foundation for the Extension and Development of the American Theatre.

Report looks at audience behavior in response to environmental changes and to marketing manipulations.

The position of the consumer in the arts world is ambiguous. On the one hand, the arts world actively seeks audiences, buyers, visitors, patrons, taxpayer support and public recognition of the value of the arts to society. On the other hand, consumers are frequently criticized by producers for Philistine attitudes, meretricious tastes, rigidly held conservative preferences for the traditional and general hostility to innovation by each new generation of artists. Hence, many producers have attempted to isolate themselves from the consumer.

This article is divided into two parts. Part I, which is featured in this issue, is an analysis of audience surveys which sketches an outline of the audience profile and describes its relative position in the leisure marketplace. Who are the people that attend performing arts events? What effect do pricing policies, alternative entertainments, audience-building efforts, macroeconomic and political shifts and other factors have on the size, make-up, and behavior of this group?

Using data from the 1982 Survey of Public Participation in the Arts, this note compares pairs of live attendance activities and electronic media activities, such as: watching all television, on listening to radio, and listening to recordings. The note also examines the correlations between hours spent watching all television and attending live events. The Pearson correlation coefficient is used for measuring the correlation between the 119 pairs that are considered in this note.