alma" (isci)

75 Pages·2012·2.86 MB·English

DOCUMENT ISSUES
DeVeaux, Scott, Comp.
AUTHOR
Jazz in America: Who's Listening? NEA Draft
TITLE
Report.
'alma" (isci)
trtititION
ndpi.mert for
NatjQnhl
Jiatma
tfio Arts: WnoNng ont
ltwwwarrh
Sep 94
'VTR
name.*
r 1 *
atsom*
'Arta,
Center, 1100 PenrisOvania Avehue, N.W., Wiihington,
DC 20506.
Reports
Information Analyses (070)
PUB TYPE
Research/Technical (143)
MF01/PC04 Plus Postage.
EDRS PRICE
Cultural Activities: Fine Arts; Folk Culture;
DESCRIPTORS
Humanities; *Jazz; *Music; *Music Appreciation; North
American Culture; *Popular Culture; Social Science
Research
This research report examines the data collected in
The Survey of Public Participation in the Arts (SPPA) for 1992,
funded by the National Endowment for the Arts. The study also
provides a context for interpreting the data with a comparison to a
similar survey of 1982. Jazz was defined as the respondents saw fit.
(1) participation in jazz is
Findings of the survey include:
(2) participation
correlated strongly with education and income;
rates are consistently higher for men than for women and for
in all other
African-Americans than for white Americans;
(3)
benchmarks arts activities, participation rates are higher for women
(4) although jazz
than for men and for whites than for blacks;
retains a multi-racial audience, it enjoys particular support from
the black community; (5) the audience for jazz and classical music
overlap to a considerable extent; and (6) those who attend jazz
performances are more likely than the population as a whole to
participate in a wide range of leisure activities, such as movies,
exercise, sports, or charity work. Tables and figures presenting the
data accompany the paper.
(EH)
**********************************************************************
Reproductions supplied by EDRS are the best that can be made
from the original document.
JAZZ IN AMERICA:
WHO'S LISTENING?
by
Scott DeVeaux
Music Department
I Tniversity of Virainia
BEST COPY AVAILABLE
Prepared by Jack Faucett Associates
under contract from the Research Division of
thc
National Endowment for the Arts, Washington, D.C.
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CONTENTS
&MO
'ingaimaanaminsimaimmaia,
"
4
i"i't.Ti4T111,
The Jazz Audience: An Overview
II.
5
Introduction: issues and problems
A.
10
Attendance
B.
12
Recordings
C.
13
Radio
D.
15
Television/Video
E.
16
Cross-tabulations
17,
Demographic Characteristics of Jazz Audience
111.
17
Overview of demonstrate profile
17
Education
1.
Income
-
Age
Race
4.
28
Gender
5.
29
Geography
6.
29
demographic profiles
Other
13.
)9
Demoeraphic profile bv frequency
1.
Frequency of attendance and race and gender
a.
Frequency of attendance and age
b.
35
Frequency of attendance and education
c.
35
Frequency of attendance and income
d.
35
Demographic Profile of Subscribers to Jazz Maeazines
37
Music Preference
I V.
37
Those Who "Like Jazz"
A.
39
Those Who Like Jazz "Best of All"
13.
39
Music Preference for Jazz in Relation to Other Genres
C.
4 1
Education
I.
43
.,
Income
43
3.
........
. .............. .
A U.0
4.--)
Race
4
.
.
.
As
Gender
5.
49
Cross-Tabulations
h.
s6
............
rerformers
...
V
:xts klucattop
ti
CONTENTS
Pare
Section
tie,
It SMI"
.
.
58
.0.1
Leisurf
VII. ,
uto
0.
41
_ .
. .
Conclusions
VIII.
1197P
4111010m.
LIST OF FIGURES
I
0,9,1
Figure 1: 1992 Frequencies of Attendance
n1n192a1id1992i.
40
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.4.1,0449fiF
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li_e__.
;
nees
Om.. 6
.
-:Firwe 3: 1914 gams. ..itibtstrib.
. .
.
..
..
20
of Total
Audience)
Figure 4: 1992 College Graduate Attendance Rates (Percent
26
Figure 5: 1992 Racial Distributions of Jazz Audiences
30
Region
Figure 6: 1992 Media Participation in Jazz by Geographic
Figure 7: 1992 Frequency of Attendance for Jazz by Age
3 3
34
(alternative
presentation)
Figure 8: 1992 Frequency of Attendance for Jazz by Age
47
Figure 9: 1992 Music Preference Rates by Education
44
Figure 10: 1992 Music Preference Rates by Age
LIST OF TABLES
fl
.
!
,
03,15
.
.
.
. . .
.
L-
7*.
gender.lunweightedi.
.31
,...
,
.
.
able;74- FrequenOy 7of-aneticlaAce-:by:qice..and.
7":
Pettentages"..
Percentages Who Liked 10 Genres "Best of All"
Table 5.
45
Table 6. Music Preference"Top Ten" for Blacks
46
Table 7. Music Preference"Top Ten" for Whites
47
Table 8. "Music Liked Best" by Blacks
47
Table 9. "Music Liked Best" by Whites
47
Percentage of "Liked Best" Audience That Is Black
Table 10.
48
with Male%Temale %
Table 11. "Male Dominated" Musical Genres,
48
with Male%Temale%
Table 12. "Female Dominated" Musical Genres,
Other Genres (with
Percentage of Those Who "Like Jazz" Who Also Like
Table 13.
49
Overall Percentace Liking)
the Genre They
Percentaue of Those Who Attend Jazz Performances and
Table 14.
"Like Best," with National Average
Radio and the Genre They "Like
'Fable 15. Percentage of Mose Who Listen to Jazz
Best," with National Average
Recordings and the Genre They
Table 16. Percentage of Those Who Listen to Jazz
"Like Best." with National Averaue
Genre and Auended a Jazz
17. Percentage of Those Who "Like Best" a
Table
Performance
1.istened to Jazz
Percentage of Those Who "Like Best" a Genre and
Table
I S,
Radio
Jazz Recordins
54
Percentage Who "Liked Best" a Genre and Listened to
'Fable 19.
Participated in
Percentage of Those Attending Jazz Performances Who
Table 20.
58
Other Leisure Activities
September 1994
.lack Faucea Associates-472
*SO' ta.t.,istiroat
tf4P
Mil
11
aiious C*.
int° thg. agdie*3_ tbr TMs in the'
ovei the past deeide.
Participation in the Arts (SPPA) for 1992' was the third such survey
of seven "benchmark" arts activities.
As in tl e two earlier surveys, jazz was listed as one
demographic characteristics of the jazz
Detailed information was gathered on the size and
If,
participate in jazz through the media,
audience: ihose adult Americans who attend jazz events,
of the current monograph is to
perform jazz, or simply say they like the idiom. The purpose
them. Many items are compared
examine these data and to provide a context for interpreting
of the monograph summarizes
w;th the findings in the 1982 SPPA2. This introductory section
some of the salient findings.
does not distinguish
'the intbrmation provided by the SPPA. it must be emphasized,
more
the
example,
of jazz--between.
for
definitions
conflicting
potentially
between
educators, critics, and the arts
conventional definition of the "jazz tradition" favored by
reterred to as ''contemporary jazz."
establishment, and the recent pop-oriented styles often
creating new music and charting,
(Traditional jazz is nothin if not contemporary, with artists
for the
The SPPA figures should be understood as reliable data
new territory every year.)
its currem manifestations. The respondents defined jazz
aggregate audience for jazz in all of
as they saw tit.
Potential Jazz Audience
About one-third of American adults
The potential audience for jazz has urown significantly.
from three Nrcent in 1982) of
reported that they "liked jazz." an,i about five percent (up
In 1992. 25% of adult Americans
American adults reported that they liked jazz "best of all."
()lien than they do now. as compared with
expressed a desire to attend jzi72 performances more
18% in 1982.
ere anai zed by Jack kuicett
liureau ot the Census in this surve
t ,.5.
The data collected
the
h..
The results in the ;inalsis were published
ii Mar, Lind.
As,ociate,,, Inc. and John p R,thmson ot the I :niversil
Hie report is referred to
Res,mrch Report
H. the Endowment as Arts Particiratim in America. loS-l9u2.
SPPA9.2 in this monoeraph.
i Lirohl Horowtt,. Du,:etot
oN.` SITA V, vie MIAs /i.%1
Data on the kw/ and:en:L. dcmt.'d ItnIn tilL
115
I he results ot this analsis were published in l986 as .Fhe
Research of thc National Endowment for the Atts.
()remit/Anon. 1086: available through the Education
American JalkAudience_ l'ashim.tton. National .1.147, Sell. lee
ot Ne
chapte:
the openim2
2807':Th. and
stetii
',11111111M 1/cki
Information
.1-,
Research
iiiithsonian Institution Ples, Ponn, pp
I-S.
\Vashineton
PeEipeetRes in la/1. ed David N Raker
IA I Van
Rcpco.t
September 1994
Jack Faucett Associates-472
ag..ertded aittim event during.
'put° afty Whet Musical:form
'"
"
114/4
L 84"
'
4H
,
1841484V811
ihtitatiP&...bt!!,...tb_g:4,! Aro fonf Anta on. changes
AnecriotiFevidetieeitullearei: a 44:Ai& ifilY=
aitit-itsatt-" ii1 jaZZ:
the nuiiihei of opportunMá
4tittPritinis' and
icrtum tkt xnght ei0:04 .!0.1.0liFtse:FrT
'4;:ttrOfjotrSokkilrigirrii#,Iitare*llempiedstiolgtesmohmiewutineloosmill
aily4hatkiitet "Accesvole"
uauthentie"-kind of jazz as- Well
SirpritinglY, on the
commercial and public radio, and there are
Jazz programming has expanded on
counterpart.
be established in 1994.
stations. A jazz cable channel may
a few all-jazz
Size of the jazz audience
19.7 million) attended a jazz
of adult Americans
In 1992. approximately 10%
recording. These figures
while 20% listene.; to a jazz
performance during the previous year.
But 22% watched jazz on television
for 19S2
the same as those reported
are approximately
radio.
198 '.: and 28% listened to jazz
videotape), up from 18%
i
in some form (broadcast or
attributable in part
earlier. The growth in jazz radio is
increase over 18% a decade
a dramvtic
commercial radio
New Adult Contemporary) in
pop-jazz formats
to the spread of new
public broadcasting.
of more traditional forms of jazz on
and to the increased popularity
who attend jazz performances
SPPA data show that most of those
Cross tabulations of the 1992
three titres that of the population as a
through the media at a rate
also participate in jazz
jazz on the radio, 67% listen to
jazz performances. 76% listen to
whole. 01 those who attend
About a third of those who
watch jazz in some form of television.
jazz on recordings. and 61%
attend concerts.
listen to jazz recordings also
of attendance. Those
the first time, data on the frequency
The 1992 survey provides. for
of 2.9 times--
.ear did so an average
performance during the previous
who attended a jazz
But a larue
perforniine arts.
for any of the other benchmark
higher than comparable rates
44% attended
did so less frequently than this average:
majority of those attending jazz events
small percentage of the jazz
26% attended only twice. Thus, a
only once, while an additional
Fven so. the
of attendees.
large share of the total number
audience forms a disproportionally
that for classical music.
jazz events was nearly as larue as
total number of attendances at
the jazz audience
Denwgraphic characteristics qf
well-educated. youthful.
audience Hse that is affluent.
The overall jnolile reveals an
that
the audience
data show that
frequency-of-attendance
l'he
diverse.
and ethnically
well-off, and black.
in
male. well-educated.
strikingly
jaiz
is
participates
in
frequently
ith readership
l'hese tindins are consistent w
adult population.
comparison with the eeneral
maga/jnes.
surveys II\ iazz
%L.! Oran It',7,r1
Jack Falwell Associates-472
September 1994
Parlicip*iiin in-** is
rattly 03.001.
4 *itit 0406ation aii4 iiteOtte.
Nitiiitty.iiilf of
n
th(Ise attending jazz_perfarmances. far example. are calleggigrathinteR: aver threeltlartPrs tue
liad-some college education. Tlibse earning abbve $50;000 a year are more thäII twice as likeTy
to attend perfarmancits..disii:those. earnuig.lesiiiiitt S25.000 In this respect. thi iiidionce..
lerintrffilPinklarlialterlkeletherbeMilanit INUrankritkinVilbri
til U9
.
,
.
.
of participation ore.to be fotmd among the most affittetn arid highly edueated.
The jazz audience is predominantly' youthful, especially when compared to the other
benchmark arts activities. Over two-thirds of those attending jazz performances are under the
aee of 45. with a peak in the age group 25-34. But comparison with the 1982 figures shows
a distinct areying trend, with decreases in nearly all forms of participation or music preference
by the 18-24 age aroup compensated by increases in aroups over 34. The 1992 SPPA data
show a striking increase in the participation in jazz through the media by respondents 75 and
older. A possible explanation is that in 1992 this group had been exposed to jazz during the
years when musical tastes are likely to he formed.
The demmtraphic profile of the audience with respect to uender and race reveals other
Participation rates are consistently higher for men than for women:
qualities unique to jazz.
althoueh men comprise only 48% of the adult population. the audience for most forms of
participation in jazz is 52-54% male.
Similarly, participation rates for African7Americans are
consistently higher than for white Ainericans: although blacks comprise 11% of the adult
population. between 16-20% of the audience for various forms of participation is black.
By
contrast, in all other benchmark arts activities participation rates are higher for women than for
men and for whites than for blacks.
.1a72 is unique among the benchmark activities in being
derived from African-American traditions.
The statistics on frequency of attendance and on those who prefer jazz to all other music
Llenres provide a way of focusing on the characteristics of the most loyal and intense sector of
Within this small but influential group. the disparities with regard to race
the jazz audience.
and gender. noted above for the jazz audience as a whole, become sharper. with males and
Nearly a quarter of those
African Americans showin strikingly high rates of involvement.
who attend as many as nine jazz performances per year. are black, and three-fifths are male.
Approximately a third of those who report liking jazz "best of all" are black, and two-thirds
are male. These disparities are corroborated by demographic surveys conducted by major .jazz
specialty magazines, who find men and African Americans to be disproportionately represented
among their readership.
Other findings
f adult Americans reported "performing or
lo02. approximatel
In
I
rehearsing" jazz over the previous year. I.;!ss than half of this number
performed jazz in publicroughly the same percentage reported in the 1982
SPPA. Performers are predominandy male. winte I although Hacks and Asians
1 >rail
1...1
September 1994
Jack Faucet: i1ssociaws-172
youthful (71% under
likely to perform jazz than Nv *tes), and
are somewhat MOre
hid aome
of the jazz performed have
e Of _451,......Mmety-three percent
_the_
fb.rmat musical education.-
01.
retains
413
(54%) of the We AftiPan'Aftt
black eommunhy: More than- half
with only a third (32%) of whites.
population reports liking jazz, as compared
jazz "best of all"--second only to
Roughly 16% of African Americans like
of whites..
religious music--as compared to 4%
music overlap to a considerable extent:
The audience for jazz and classical
performances of one genre also attend
roughly a third of those who attend
performances of the other.
likely than the population as a
Those who attend jazz performances are more
such as movies.
in a wide ranue of leisure activities,
whole to participate
exercise. sports. or charity work.
.1