The study reported in this chapter responds to several specific objectives that have had wide recognition in the arts community: to broaden the audience for the performing arts; to determine the applicability of sophisticated tools of marketing to the problem of generating demand for the arts; to find the best predictors of arts attendance; and to develop strategies that will appeal to those who, by these predictors, are potential attenders. Such a study was needed because little has been known up to the present about why some persons become arts attenders and others do not, and about how

Highlights of the studies conducted of the arts public in the South, using both data from a survey of the adult population in 13 states and an analysis of three separate surveys conducted by the Louis Harris and Associates organization which compare South and non-South. In addition, arts participation data is presented from the survey of public participation in the arts covering the entire U.S. population in 1982.

In his classic treatment of authority in organization, Chester I. Barnard directs attention to the persistent, stable and reproducible features of interaction in deliberately created social structures (Bernard, 1962). He focuses on the problematic features of compliance by organizational subordinates and, specifically, on the interpretive context in which directives from superiors are scrutinized, evaluated, and translated into appropriate behavior by members. In his formulation, communications are viewed as situated work contingencies: factors upon which the legitimation of authority

The author looks at family influences on arts patronage using the results of 91 surveys form a study administered in 1981 in Salt Lake City, Utah.

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. Statistics and analysis are provided for the year as well as comparisons to previous years.

Paper presented at Conference on the Economic Impact of the Arts, sponsored by Cornell University, Graduate School of Business and Public Administration, held in Ithaca, New York, May 27-28, 1981.

The study examines some quantitative elements relating to the success of a festival. The data comes from three quite similar festivals held in the summer of 1981. In calendar order, the festivals are: The North Country Festival, July; The Old Timers Festival, August; and the Great River Festival, September. Each festival presents an informal mix of folk music and crafts. The setting for each is outdoors. The audience can sample a variety of informal music workshops, and craft demonstrations. Each festival presents a main stage concert as a central feature of the weekend. What the quantitative

This handbook is based upon the experience of conducting a project funded by the U.S. Administration on Aging in which HAI provided 1,251 arts performances, lecture/demonstrations, and workshops to the impaired elderly in 33 nursing facilities in the New York City area from 1976 to 1979. Such a breadth of experience naturally yielded a good deal of knowledge about what works and what doesn't; the handbook is HAI's method for detailing this knowledge so others may design and implement the specific components of successful arts programs in nursing homes.

This paper investigates the effects of family life cycle as a way to understands the changes in an individual's arts attendance. Using cross-sectional data, the authors examine arts patronage over changes in life cycle. An individual's needs and interests change with the number of dependents and the availability of resources and time. The decline in arts attendance in the newly-married and full nest couples, the authors find, can be reversed once couples need not direct so much attention within the home.

The purpose of this paper is to take one aspect of the audience development issue, season ticket holders, and point out the particular relevance of this group for both internal and external economics considerations. The author concludes that the fact that season ticket holders are a core group of patrons can effect the operational aspects of art organization. In addition, by virtue of the tendency for season ticket holders to subscribe to several art forms, they represent an economic force in a community which, if recognized by community planners and individual organizations, can be