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		<title>Latest Listings In Category - Participation, involvement and attendance</title>
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			<title>Involvement in music</title>
			<link>http://www.mca.org.au/web/component/option,com_kb/task,article/article,82/</link>
			<description>&lt;br /&gt;&lt;div class=&quot;snap_preview&quot;&gt;
&lt;br /&gt;
&lt;span style=&quot;font-size: 8pt; color: #008000&quot;&gt;By Hans Hoegh-Guldberg 
(Economic Strategies)&lt;br /&gt;
Last updated: 23 January 2008&lt;/span&gt; 
&lt;p&gt;
&lt;b&gt;Contents&lt;/b&gt;
&lt;/p&gt;
&lt;ul&gt;
	&lt;li&gt;&lt;a href=&quot;#stat&quot;&gt;Statistical surveys&lt;/a&gt; 
	&lt;/li&gt;
	&lt;li&gt;&lt;a href=&quot;#mus&quot;&gt;Music versus other artistic, culture and leisure 
	activities&lt;/a&gt; 
	&lt;/li&gt;
	&lt;li&gt;&lt;a href=&quot;#pay&quot;&gt;Payment status&lt;/a&gt; 
	&lt;/li&gt;
	&lt;li&gt;&lt;a href=&quot;#wee&quot;&gt;Weeks and hours worked during year&lt;/a&gt; 
	&lt;/li&gt;
	&lt;li&gt;&lt;a href=&quot;#spec&quot;&gt;Specific musical activities&lt;/a&gt; 
	&lt;/li&gt;
	&lt;li&gt;&lt;a href=&quot;#work&quot;&gt;Work involvement versus hobby&lt;/a&gt; 
	&lt;/li&gt;
	&lt;li&gt;&lt;a href=&quot;#tre&quot;&gt;Trends&lt;/a&gt; 
	&lt;/li&gt;
	&lt;li&gt;&lt;a href=&quot;#comp&quot;&gt;Comparison with 2001 Census&lt;/a&gt; &lt;/li&gt;
&lt;/ul&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;a title=&quot;stat&quot; name=&quot;stat&quot;&gt;&lt;/a&gt;&lt;b&gt;Statistical 
	surveys&lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
Since 1993, the Australian Bureau of Statistics has conducted four surveys to 
determine the involvement of the population in selected cultural and leisure 
activities. The most recent survey was conducted over two weeks in April 2004 
and aimed at estimating how many people participated (were &amp;lsquo;involved&amp;rsquo;) in 35 
activities over the preceding twelve months. Some of these activities were 
individual visual arts and crafts, and a distinction was made for music and 
performing arts between performers and persons who were involved without being 
performers themselves. The surveys covered all persons aged 15 and over, with 
one randomly selected person being interviewed in each randomly selected 
household.
&lt;/p&gt;
&lt;p&gt;
The 1993, 1997, and 2001 surveys of work in selected culture and leisure 
activities are not directly referred to in this page of the knowledge base. The 
published trends are shown in one of the tables in the &lt;a href=&quot;http://www.abs.gov.au/AUSSTATS/abs@.nsf/DetailsPage/6281.0Apr%202004%20%28Corrigendum%29?OpenDocument&quot; target=&quot;_blank&quot;&gt;2004 survey publication&lt;/a&gt;, and reproduced in part here as Table 
1.4.1.14.
&lt;/p&gt;
&lt;p&gt;
The ABS subsequently responded to the request of the Cultural Ministers&amp;rsquo; 
Council&amp;rsquo;s Statistics Working Group by compiling a &lt;a href=&quot;http://www.culturaldata.gov.au/__data/assets/pdf_file/58544/Music_in_Australia_A_Statistical_Overview.pdf&quot; target=&quot;_blank&quot;&gt;compendium&lt;/a&gt; named &lt;i&gt;Music in Australia: A statistical 
overview&lt;/i&gt; (February 2007). It contains additional data from the 2004 survey 
published for the first time.
&lt;/p&gt;
&lt;p&gt;
The statistics have been compiled into a file, &lt;a href=&quot;http://www.mca.org.au/involvement.pdf&quot; target=&quot;_blank&quot;&gt;accessible 
here&lt;/a&gt;. It opens in a separate window, so can be read alongside the text 
below. Those wishing to have ready access to the charts only can find them in &lt;a href=&quot;http://www.mca.org.au/images/involvement-charts.pdf&quot; target=&quot;_blank&quot;&gt;this 
special graphics file&lt;/a&gt;. 
&lt;/p&gt;
&lt;p&gt;
&lt;a title=&quot;mus&quot; name=&quot;mus&quot;&gt;&lt;/a&gt;&lt;a href=&quot;#ph&quot;&gt;top&lt;/a&gt;
&lt;/p&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;b&gt;Music versus other artistic, culture and leisure 
	activities&lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
The 2004 survey found that 230,800 persons were involved as live performers 
of music defined as &lt;i&gt;work&lt;/i&gt;. According to the glossary of the survey 
publication this means &amp;ldquo;any participation, paid or unpaid, in any of the 
selected culture and leisure activities included in the survey, excluding 
involvement only as a hobby&amp;rdquo;. &lt;i&gt;Involvement&lt;/i&gt; is defined as having &amp;ldquo;any 
participation, paid or unpaid, in any one of the activities in the survey and 
some, or all, of that participation was not for the person&amp;rsquo;s own use of for the 
benefit of their family (i.e. was not a hobby activity).&amp;rdquo; &lt;i&gt;Hobby 
activities&lt;/i&gt;, accordingly, &amp;ldquo;are those where all participation in art or 
craft, writing or music was either for the person&amp;rsquo;s own use or for the benefit 
of their family.&amp;rdquo;
&lt;/p&gt;
&lt;p&gt;
The implication, then, is that the involved persons&amp;rsquo; work in the sense used 
here covers all activities not solely for personal or family consumption, so it 
can be unpaid as well as paid.
&lt;/p&gt;
&lt;p&gt;
In the overall perspective, 2,887,500 persons were involved in one or more of 
the selected culture and leisure activities. This compares with a total 
population of 15,671,100 (15+), giving an overall participation rate of 
18.4%.
&lt;/p&gt;
&lt;p&gt;
Table 1.4.1.1 compares the involvement of people engaged in different types 
of artistic activities, as defined in the 2001 Census and its predecessors. 
Chart 1.4.1.1 ranks these according to numbers of persons involved. It is 
worthwhile to provide extra perspective on the number of music performers 
through further detail on individual art forms.
&lt;/p&gt;
&lt;p&gt;
The survey reveals that almost 790,000 persons were involved in the 
&lt;i&gt;visual arts&lt;/i&gt;, which implies a participation rate of 5.0% or one in 
twenty persons aged 15+. Further detail shows the key work activities to be 
commercial, industrial, advertising, fashion, portrait and wedding 
&lt;i&gt;photography &lt;/i&gt;(300,100 persons), &lt;i&gt;drawing&lt;/i&gt;, excluding technical 
and architectural (288,700), &lt;i&gt;computer art &lt;/i&gt;(286,300), and &lt;i&gt;painting 
&lt;/i&gt;(262,400). Note that many were involved in more than one visual arts 
activity: these four activities alone add to over 1.1 million. There were also 
68,400 persons involved in print-making, 61,500 in sculpture, and 47,800 in 
other visual art activities such as performance art, leather art, photocopy art, 
and paper art.
&lt;/p&gt;
&lt;p&gt;
Looking at individual visual art activities, more people were involved in 
each of the main four than in musical performance. The same cannot be said for 
the third-largest group in Table 1.4.1.1 and Chart 1.4.1.1, &lt;i&gt;craft 
activities&lt;/i&gt;, partly because there are relatively fewer people involved in 
multiple craft activities (542,700 persons involved, 619,000 observations of 
individual activities). The largest craft category was furniture making and wood 
crafts (204,500) followed by textiles (144,300), jewellery (63,500), pottery and 
ceramics (57,600), and glass crafts (27,000). Other craft activities (122,100 
persons) included metal craft and decoupage (described by the &lt;a href=&quot;http://www.decoupage.com.au/&quot; target=&quot;_blank&quot;&gt;Decoupage&lt;/a&gt; Guild Australia 
Inc. as &amp;ldquo;an 18th century art form of decorating objects with painted background, 
cutout paper images forming a design under varnish creating the effect of inlay 
artworks.&amp;rdquo;).
&lt;/p&gt;
&lt;p&gt;
These statistics may give the impression that visual arts and crafts provide 
a much richer, or more varied, canvas for artistic development than music can 
provide. This is plainly erroneous, but the fact remains that there were almost 
three-and-a-half times as many persons involved in one or more visual art 
activities than in musical performance, and 2.4 times as many in one or more 
craft activities. The participation rate in musical performance was less than 
1.5% compared with the 5% for the visual arts calculated above.
&lt;/p&gt;
&lt;p&gt;
The second-largest category of people involved in artistic activities as work 
(556,500 persons) was &lt;i&gt;writing&lt;/i&gt;, including both authors and journalists 
who occupy different statistical classifications in the census. A subsequent 
table in the survey publication shows newsletter writers to be the largest group 
(226,300) followed by newspaper and magazine writers (199,800), writers of 
journals (121,600), educational books (97,400), other books (72,200), and film, 
television or plays (38,100).
&lt;/p&gt;
&lt;p&gt;
The fourth-largest group was &lt;i&gt;design&lt;/i&gt; (370,200 persons) including 
graphic (142,600), advertising (128,800), architecture (61,900) and fashion 
(27,900), as well as other design categories totalling 100,100 persons. Part of 
the latter category would be interior design. Industry design and drafting were 
excluded from the survey.
&lt;/p&gt;
&lt;p&gt;
According to the main survey publication, there were slightly more people 
involved as performers in theatre, dance, opera, music theatre and other 
&lt;i&gt;performing arts&lt;/i&gt;, than as live performers of music. The total number of 
performers was 272,700 in the performing arts as defined here, against 230,800 
as live performers of music. However, the 2007 publication, &lt;i&gt;Music in 
Australia: A statistical overview&lt;/i&gt;, has a special table showing that 66,000 
persons were involved as performers of opera or music theatre (see our Table 
1.4.1.12). Given that some of these people were also involved in other musical 
activities, it would be double counting to add them all to the musical performer 
category, but a significant number would constitute net gains to the music 
category. It is impossible to judge whether this transfer, if the details were 
fully known, would put the number of live musical performers ahead of performers 
of theatre, dance and other performing arts.
&lt;/p&gt;
&lt;p&gt;
Chart 1.4.1.1 finally shows smaller numbers of people involved in 
&lt;i&gt;radio&lt;/i&gt; (93,000), &lt;i&gt;television&lt;/i&gt; (76,200), and &lt;i&gt;film 
production&lt;/i&gt; (74,900).
&lt;/p&gt;
&lt;p&gt;
Involvement in music other than as live performers contributed 69,100 to the 
music category. Activities include music arranging, composing, songwriting, 
sound engineering, recording or publishing music, and support roles for 
musicians, bands or ensembles (if people doing such jobs were also live 
performers they were put in that category). There were also a small number of 
people for whom no detail was obtained (about 5,300), so the total number of 
people involved as either performers or other music roles in the year to April 
2004 was 305,200 (excluding persons involved in opera or music theatre but not 
in other musical activities).
&lt;/p&gt;
&lt;p&gt;
There were more people, both absolutely and relatively, in the other 
performing arts that performed non-performing roles only (151,200). Though 
48,000 people were involved in opera or music theatre in such roles who rightly 
belong in the music sector (Table 1.4.1.12), the number of people involved would 
still be higher in the non-music performing arts than in music.
&lt;/p&gt;
&lt;p&gt;
There were many other involvements under the classifications of the survey; 
these are shown in the lower sections of Table 1.4.1.1. The largest groups were 
f&amp;Atilde;&amp;ordf;te organising (336,500 persons), festival organising (252,200, which would 
include music festivals), interactive content creation defined as designing 
websites and creating programs containing film, sound and animated components 
for computers, electronic games and touch screens (214,700), teaching (183,200, 
of whom 73,400 taught music or performing arts), publishing (162,200), and arts 
and crafts show organising (153,200).
&lt;/p&gt;
&lt;p&gt;
Table 1.4.1.1 contains similar detail on the distribution of involvements 
between males and females, and the proportion of persons receiving some payment 
for their work. Chart 1.4.1.2 ranks the art forms according to the proportion of 
males among those involved. The male ratio for musical performers (58.5%) 
was not far behind the top male ratios: radio and television, both almost 62%. 
Two other activities with more than 50% males were design (57.5%) and film 
production (55.5%). The art forms with the lowest male ratios were performing 
arts (32.9%) and craft activities (38.4%).
&lt;/p&gt;
&lt;p&gt;
Among the persons involved in music but not as performers, 44.1% were male, 
while the equivalent ratio for the other performing arts was a much lower 30.5%. 
Other activities outside those labelled artistic in the 2001 Census which showed 
relatively low male ratios were public art galleries (30.6%), libraries and 
archives (24.4%), cinema and video distribution (32.0%), f&amp;Atilde;&amp;ordf;te organising 
(27.5%), art and craft show organising (25.6%), and government arts 
organisations and agencies (31.4%).
&lt;/p&gt;
&lt;p&gt;
See the next heading for comments on the right-hand column of Table 1.4.1.1, 
dealing with payment status.
&lt;/p&gt;
&lt;p&gt;
Table 1.4.1.2 shows various classifications of total involvement in culture 
and leisure activities. In summary:
&lt;/p&gt;
&lt;ul&gt;
	&lt;li&gt;The total participation rate in all paid and unpaid activities, whether 
	artistic or other culture and leisure activities, was 18.4% for Australia. As 
	already noted, it was below 1.5% for music performers excluding opera and music 
	theatre (actually 1.47%). 
	&lt;/li&gt;
	&lt;li&gt;Given the statistical uncertainties of a sampling approach, the total 
	participation rate varied modestly among all but one of the States and 
	Territories: between 17.6% in Queensland and Western Australia, and 19.6% in 
	Tasmania. The significant exception was the Australian Capital Territory, with a 
	participation rate of 29.4%. 
	&lt;/li&gt;
	&lt;li&gt;The overall female participation rate in the activities covered by the 
	survey was 20.4% compared with 16.4% for males.  
	&lt;/li&gt;
	&lt;li&gt;The participation rate remained fairly constant at 19-21% from ages 15 to 
	54, and then declined to 16.5% for the 55-64 age group and 11.9% for people 65 
	years and over. 
	&lt;/li&gt;
	&lt;li&gt;Of those involved in the culture and leisure activities surveyed, 2.2 
	million were born in Australia, indicating a participation rate of 19.7%. 
	Another 346,200 were born in other main English-speaking countries. They had the 
	highest participation rate (21.2%). The remainder, 323,300 born in 
	non-English-speaking countries, had the lowest participation rate (11.7%). 
	&lt;/li&gt;
	&lt;li&gt;There was probably no statistically significant difference between 
	participation rates in capital cities (18.3%) and other urban, rural and remote 
	parts of Australia (18.6%), though it is suspected this conceals more than it 
	reveals in view of the complex cultural and social structure of the nation. 
	&lt;/li&gt;
	&lt;li&gt;Employed persons had the highest participation rate (21.5%), followed by 
	unemployed persons (20%) and with people not in the workforce trailing at 13%. 
	&lt;/li&gt;
&lt;/ul&gt;
&lt;p&gt;
&lt;a title=&quot;pay&quot; name=&quot;pay&quot;&gt;&lt;/a&gt;&lt;a href=&quot;#ph&quot;&gt;top&lt;/a&gt;
&lt;/p&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;b&gt;Payment status&lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
The third chart (1.4.1.3) derived from Table 1.4.1.1 (right-hand column) 
identifies the proportion of involved persons who received some payment. This 
criterion places persons involved in live music performance sixth in the group 
of nine categories. Design and television easily scooped the pool with 65.4% and 
63.8%, respectively, receiving some payment. Film production, at 44.3%, was 
third way down the line, followed by writing at 35.5% (obviously a lot of 
newsletter writers and others don&amp;rsquo;t receive any payment), and radio, in marked 
contrast to television reflecting their different industry structure and large 
number of community stations, at 30.3%.
&lt;/p&gt;
&lt;p&gt;
All the above showed a higher ratio of paid to total involved workers than 
the musical performers&amp;rsquo; 28.9%. The three groups with even lower ratios were 
visual art activities (23.5%), craft activities (22.0%), and at a very low 
level, performing arts including opera and music theatre (15.0%).
&lt;/p&gt;
&lt;p&gt;
Similarly low ratios (not included in Table 1.4.1.3) applied to drawing 
(16.1%), painting (15.0%), sculpture (14.4%), and among the craft activities to 
textiles (14.9%) and other, unspecified crafts (15.3%). Organisers of 
arts-related events were also unlikely to receive any payment: festivals 16.7% 
of those involved, art and craft shows 14.5%, and f&amp;ecirc;tes a mere 4.1%.
&lt;/p&gt;
&lt;p&gt;
Of all persons involved in the activities included in the survey, 33.2% 
received some payment, 957,500 persons compared with 1,929,900 who didn&amp;rsquo;t.
&lt;/p&gt;
&lt;p&gt;
Tables 1.4.1.3 and 1.4.1.4 are twins, the first showing number of persons and 
the second percentage distributions. We retain the comparison between musical 
and other culture/leisure involvement but switch the perspective to whether 
people are paid for the work they do in the community (as distinct from carrying 
out these activities as a hobby for themselves and their families).
&lt;/p&gt;
&lt;p&gt;
These tables are based on known observations of whether persons did or did 
not receive any payment. The relatively few cases where these details were 
unknown are not shown because we are interested in the percentage distribution 
of known cases (see totals including observations lacking the information on 
payment status in Table 1.4.1.1).
&lt;/p&gt;
&lt;p&gt;
While 64,300 music performers received some payment in the year ended April 
2004, only 11,500 (estimated on a statistically thin basis) received $5,000 or 
more (Table 1.4.1.3). The percentage distributions in Table 1.4.1.4 provides 
more perspectives. We have already noted the proportion of each activity group 
receiving any payment, but now have the further knowledge that most of these 
payments were below $5,000. So we can draw a graph (Chart 1.4.1.4) showing the 
proportion of involved persons receiving $5,000 or more in the twelve months 
surveyed.
&lt;/p&gt;
&lt;p&gt;
There is a great deal of variation between the artistic groups represented in 
Chart 1.4.1.4. When interpreting it, remember that all involvements are 
included, whether on a full-time or very part-time basis, whether paid in money 
or in kind, or whether totally unpaid on a volunteer working basis. Full-time 
workers are paid a lot more than $5,000 (some indication can be gleaned from the 
&lt;a href=&quot;http://www.mca.org.au/images/census-stats-080121.pdf&quot; target=&quot;_blank&quot;&gt;statistical appendix &lt;/a&gt;to the story of musicians in the census). 
The present paper deals with the vastly larger number of people who have some 
sort of involvement in these activities.
&lt;/p&gt;
&lt;p&gt;
As far as payment is concerned, the leaders among those involved in artistic 
activities are clearly those involved with television, 40% of whom received 
payments of $5,000 or more, and designers, 32% of whom were in that position. An 
intermediate group is made up by those involved with film (17%), radio (13%), 
and writing (11.5%). The bottom group consists of musical performers (5% 
receiving $5,000+), visual arts (5%), crafts (4.4%), and at the bottom of the 
pile, performing arts as defined in the survey (2%).
&lt;/p&gt;
&lt;p&gt;
Visual arts and crafts were represented by unweighted average observations 
based on individual activities in the above comparison. This provides only an 
indication and is presented with a &lt;i&gt;caveat&lt;/i&gt;, especially since the 
proportion of $5,000+ varied between the individual visual art and craft 
activities with several observations having large relative standard errors, the 
measure of statistical significance used by the ABS.
&lt;/p&gt;
&lt;p&gt;
The proportion earning $5,000 or more of people involved in performing arts 
and music other than being performers themselves exceeded the proportions for 
the performers: 11% if involved with music and 10% if involved with performing 
arts as defined (Table 1.4.1.4).
&lt;/p&gt;
&lt;p&gt;
Table 1.4.1.5, from the 2007 statistical compendium, contrasts the genders 
involved in musical activities. Among those involved in music as live 
performers, 38.7% of males but only 15.3% of females received some payment 
(average for both genders 28.9% as already established in Table 1.4.4). However, 
among those involved with music but not as performers, 32.7% of females but only 
23.5% of males received some payment. Males and females apparently have 
different types and combinations of support roles in this area.
&lt;/p&gt;
&lt;p&gt;
Expressed as numbers of persons, 50,100 male performers but only 14,200 
females received some payment, while the number involved without payment was 
almost identical: 79,400 males and 78,600 females. Of those involved in music 
without being performers, an estimated 7,200 males and 12,300 females received 
some payment (a &amp;lsquo;wobbly&amp;rsquo; statistic with the relative standard error in the 
25-50% range), while the numbers not doing so were again reasonably similar: 
23,400 males and 25,300 females.
&lt;/p&gt;
&lt;p&gt;
&lt;a title=&quot;wee&quot; name=&quot;wee&quot;&gt;&lt;/a&gt;&lt;a href=&quot;#ph&quot;&gt;top&lt;/a&gt;
&lt;/p&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;b&gt;Weeks and hours worked during year&lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
The 2004 survey, as presented in the main statistical publication, featured 
the following somewhat complex classification relating to the twelve months 
ended April 2004 (see Table 1.4.1.6):
&lt;/p&gt;
&lt;ol&gt;
	&lt;li&gt;Working 1-13 weeks for less than 10 hours per week (&amp;rdquo;35 hours&amp;rdquo;) 
	&lt;/li&gt;
	&lt;li&gt;Working 1-13 weeks for 10 hours or more per week (&amp;rdquo;175 hours&amp;rdquo;) 
	&lt;/li&gt;
	&lt;li&gt;Working more than 13 weeks for less than 10 hours per week (&amp;rdquo;165 hours&amp;rdquo;) 
	&lt;/li&gt;
	&lt;li&gt;Working more than 13 weeks for 10 hours or more per week (&amp;rdquo;825 hours&amp;rdquo;). 
	&lt;/li&gt;
&lt;/ol&gt;
&lt;p&gt;
Interpreting these measures is a little difficult. If we take the median of 
1-13 weeks (7) and 14-52 weeks (33), and the median of 1-9 hours (5) and 10-40 
hours (25), we obtain the average number of hours bracketed in inverted commas 
behind each class.
&lt;/p&gt;
&lt;p&gt;
These estimates are clearly not very robust but do give some indication of 
average hours worked. On the assumptions listed above, we find the following 
average hours worked last year (whether or not for payment):
&lt;/p&gt;
&lt;ul&gt;
	&lt;li&gt;Musicians: 224 
	&lt;/li&gt;
	&lt;li&gt;Performing arts performers: 161 
	&lt;/li&gt;
	&lt;li&gt;Writers: 190 
	&lt;/li&gt;
	&lt;li&gt;Photographers: 135 
	&lt;/li&gt;
	&lt;li&gt;Other visual artists: varying between 157 (painters) and 206 (sculptors) 
	&lt;/li&gt;
	&lt;li&gt;Craft activities: varying between 95 (glass) and 238 (textiles) 
	&lt;/li&gt;
	&lt;li&gt;Designers: 344 
	&lt;/li&gt;
	&lt;li&gt;Radio: 204 
	&lt;/li&gt;
	&lt;li&gt;Television: 326 
	&lt;/li&gt;
	&lt;li&gt;Film production: 187 
	&lt;/li&gt;
	&lt;li&gt;Music workers other than live performers: 207 
	&lt;/li&gt;
	&lt;li&gt;Performing arts workers other than performers: 170. &lt;/li&gt;
&lt;/ul&gt;
&lt;p&gt;
On these rough indications, music performers work relatively long hours, 
averaging 224. Apart from textile workers (238), only designers (an estimated 
344 hours) and television workers (326 hours) appear to work longer average 
hours.
&lt;/p&gt;
&lt;p&gt;
This, however, conceals much of the information contained in the 
distributions in Table 1.4.1.6, which vary considerably among the activities. 
For instance, the proportion of music performers working less than 10 hours per 
week was 84.8%, not much less than the corresponding proportion of other 
performing arts performers (86.3%). But a much greater proportion of these 
musicians worked 10 hours or less per week for more than 13 weeks during the 
year (60.7%), compared with other performing artists (45.2%).
&lt;/p&gt;
&lt;p&gt;
In the top group, however, design and television clearly stood out with about 
one-third of persons involved working over 10 hours per week for more than 13 
weeks of the year. This compared with 13-15% or less for almost all other groups 
including live music performers. See Table 1.4.1.6 for detail. 
&lt;/p&gt;
&lt;p&gt;
The 2007 music compendium showed a special compilation of the distribution of 
the number of weeks worked during the year by the two groups involved in music 
(Table 1.4.1.7). The most striking finding is that 51% of all music performers 
worked for 40 or more weeks of the year. The weighted average for the 74.3% of 
music performers who worked more than 13 weeks was 38.3 weeks (based on an 
average of 20 weeks for the 14-26 week class, 33 for the 27-39 class, and 45 for 
the 40+ class). 
&lt;/p&gt;
&lt;p&gt;
This compares with the assumption made in the text above that the median 
number of weeks for persons working 13 weeks and over was 33 weeks. On that 
score, the average number of hours worked per person involved in music 
performance should be about 15% higher than 224, assuming the number of hours 
per week was a correct estimate.
&lt;/p&gt;
&lt;p&gt;
The second factor estimated from the 2004 survey publication, hours of 
involvement per week, seems to be fairly accurate according to the second 
special table compiled for the 2007 compendium (Table 1.4.1.8). Fully 37.4% of 
music performers worked less than three hours per week, 47.4% worked three to 
less than ten hours, and only 15.2% worked ten hours or more per week (as 
already known from Table 1.4.1.6).
&lt;/p&gt;
&lt;p&gt;
Assigning the median to each of the two lower groups (1.5 to the less than 
three hours class and 6.5 to the 3-10 hours class) yields a weighted average of 
4.85 hours per week for the under 10 hours class, just 3% below the assumed five 
hours.
&lt;/p&gt;
&lt;p&gt;
The supplementary evidence therefore suggests that people involved in music 
performance work for a 15% longer period of the year than assumed, whereas the 
number of hours worked per week seems to have been perhaps 3% lower. The 
implication is that the hours worked by those working more than 13 weeks during 
the year should be increased by about 6%, to 238 hours. The added estimate would 
be almost entirely associated with those working 10 hours or more for 13 weeks 
or more during the year.
&lt;/p&gt;
&lt;p&gt;
What we do not know is whether people involved in performing music are unique 
in having a high proportion working for 40 weeks or more. If so, music 
performers increase their lead compared with other people involved in artistic 
pursuits. If not, all estimates should be increased. In any case, the 
adjustments are not large enough to cripple our assumptions.
&lt;/p&gt;
&lt;p&gt;
&lt;a title=&quot;spec&quot; name=&quot;spec&quot;&gt;&lt;/a&gt;&lt;a href=&quot;#ph&quot;&gt;top&lt;/a&gt;
&lt;/p&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;b&gt;Specific musical activities&lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
The survey of selected culture and leisure activities in 2004 distinguished 
between five groups of music genres: rock or pop, jazz, folk or country, 
classical, and other music (Table 1.4.1.9). As a proportion of total persons 
involved in music performance, rock/pop accounted for 35%, jazz for 16%, 
folk/country for 14%, classical for 29%, and other music for 47%. These 
percentages add to more than 100 because some people play more than one type of 
music.
&lt;/p&gt;
&lt;p&gt;
Note again that opera (actually opera and musicals or music theatre) was 
classified with performing arts. Sixty-six thousand persons were involved in 
2004. As previously discussed, these would not all be added to the total persons 
involved in music performance because some would already be counted in that 
class.
&lt;/p&gt;
&lt;p&gt;
Chart 1.4.1.5 shows the number of males and females involved in performing 
each group of music genres, including opera and musicals. The number of each 
gender involved is indicated. Forty-one percent of those involved (excluding 
opera and musical) were females, but the female ratio varied widely from 30% in 
jazz and 32% in rock and pop, to 47% for folk/country and other music, 
culminating with 56% for classical music. The ratio was 51% for opera and music 
theatre, which would bring the total female ratio up a few percentage points if 
these genres were added to music performance.
&lt;/p&gt;
&lt;p&gt;
The survey also distinguished between persons who were singers only (37.1%) 
of those involved in music performance excluding opera and musicals, 
instrumentalists only (42.3%), and both singers and instrumentalists (20.6%). 
Two-thirds of singers were female, compared with 24% of instrumentalists and 32% 
of those who were both. There is no published count of conductors, despite the 
fact that &amp;ldquo;music as a live performer includes playing musical instruments, 
conducting or singing in front of an audience.&amp;rdquo; (2004 survey publication, p 
35.)
&lt;/p&gt;
&lt;p&gt;
The most prevalent type of venue was unlicensed premises (61.6% of all 
persons involved in music performance). Only 10.5% played in licensed premises 
only, while 27.9% played in both licensed and unlicensed premises. These figures 
exclude opera and music theatre. Almost half (49%) playing in unlicensed 
premises only were female, compared with 19% playing in licensed premises only, 
and 32% playing in either. 
&lt;/p&gt;
&lt;p&gt;
Table 1.4.1.9 also shows comparable data for theatre, dance and other 
performing arts, and for teaching of various artistic activities including 
&amp;lsquo;music or performing arts&amp;rsquo;. This group involved 73,400 persons (61% female). It 
was the biggest group of arts-related teachers, ahead of teachers of fine art 
and craft (64,400), writing or publishing (33,200), radio, television, film or 
video (29,200), and design (17,400 persons).
&lt;/p&gt;
&lt;p&gt;
The 2007 compendium supplements the information on music by showing whether 
musicians of the different genres were paid anything or nothing (Table 
1.4.1.10). While 27.9% of those involved received some payment, only 22.6% of 
classical players did so, and 20.2% playing &amp;lsquo;other music&amp;rsquo;. For other genres, the 
proportion paid something was around 40% (rock or pop 40.6%, folk or country a 
statistically doubtful 40.1%, and jazz 38.4%).
&lt;/p&gt;
&lt;p&gt;
Table 1.4.1.11 is based on information in the 2007 compendium, presented as a 
graph from which the data were read and checked against the known totals. It 
shows whether the persons involved in particular genres were singers, 
instrumentalists or both. The proportion of instrumentalists only varied from 
jazz (62%) and classical (58%) through other music (39%) and rock and pop (35%), 
to folk and country (19%). Singers only, on the other hand, were most prevalent 
in other music (45%) and folk and country (41%). They made up 30% of persons 
involved in rock/pop and 26% of those involved in classical music, and only 11% 
in jazz. Persons being both singers and instrumentalists were most frequent in 
folk and country music (41%), followed by rock or pop (35%), jazz (27%), 
classical (17%), and other music (16%).
&lt;/p&gt;
&lt;p&gt;
Finally, Table 1.4.1.12 deals with opera and music theatre, again based on 
the 2007 compendium. It has already been mentioned. Sixty-six thousand persons 
were involved in performance: 32,200 males and 33,800 females. They were 
supported in various ways by 48,000 persons who weren&amp;rsquo;t involved in performance: 
18,900 males and 29,000 females. The largest group of performers was in the 
15-24-year age group (48%), while the largest group of supporters was aged 25-44 
(56%).
&lt;/p&gt;
&lt;p&gt;
&lt;a title=&quot;work&quot; name=&quot;work&quot;&gt;&lt;/a&gt;&lt;a href=&quot;#ph&quot;&gt;top&lt;/a&gt;
&lt;/p&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;b&gt;Work involvement versus hobby&lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
Respondents were asked during the 2004 survey whether they were involved in 
some specific activities (art and craft, writing, and music) just as a hobby, as 
distinct from work-related reasons. The question didn&amp;rsquo;t distinguish between 
performing and other music activities.
&lt;/p&gt;
&lt;p&gt;
In summary, art and craft activities attracted twice as many hobbyists than 
writing and music did (Table 1.4.1.13). Of the total group of work- and 
hobby-related art and craft activities, roughly one-third was work and 
two-thirds hobby. The distributions were roughly the opposite for writing and 
music-related activities, for which the work component comprised about 
two-thirds.
&lt;/p&gt;
&lt;p&gt;
&lt;a title=&quot;tre&quot; name=&quot;tre&quot;&gt;&lt;/a&gt;&lt;a href=&quot;#ph&quot;&gt;top&lt;/a&gt;
&lt;/p&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;b&gt;Trends&lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
As the Australian Bureau of Statistics explains in its notes to the 2004 
survey publication, there have been changes in coverage and methodology across 
the period from 1993, when the first survey of work in selected culture and 
leisure activities was conducted. This explains a number of the &amp;lsquo;not 
ascertained&amp;acirc;&amp;rsquo; entries in Table 1.4.1.14. By implication, the entries left in the 
table are sufficiently compatible, though they remain subject to statistical 
error.
&lt;/p&gt;
&lt;p&gt;
Live performance of music and performing arts, and writing, appear to have 
been among the slower movers, as distinct from visual arts and craft activities, 
film, cinema and video. But despite ABS&amp;rsquo;s statement (p 27) that &amp;ldquo;data content 
for 2004 was essentially the same as in 2001?, some of the activities appear 
less than credible, like near doublings in some visual arts activities including 
drawing, painting and photography, the largest visual arts groups.
&lt;/p&gt;
&lt;p&gt;
&lt;a title=&quot;comp&quot; name=&quot;comp&quot;&gt;&lt;/a&gt;&lt;a href=&quot;#ph&quot;&gt;top&lt;/a&gt;
&lt;/p&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;b&gt;Comparison with 2001 Census&lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
The number of people who were involved in 2004 in music performance as &amp;lsquo;work&amp;rsquo; 
as the Australian Bureau of Statistics defines it, exceeded the number of 
professional musicians counted in the 2001 Census by a factor of 25 (230,800 as 
against 9,000 persons).
&lt;/p&gt;
&lt;p&gt;
Chart 1.4.1.6 compares the numbers involved in music performance according to 
the 2004 survey of selected culture and leisure activities (above red line in 
chart) with the number of professional musicians and composers in 2001 (below 
the red line).&lt;br /&gt;
Both concepts are obviously important, though the perspective 
differs. That so many people are involved in musical performance, with or 
without being paid for the efforts and in most cases being paid very little 
anyway, is of prime social and cultural significance. Together with all the 
other artistic and cultural pursuits covered by the survey, it is an essential 
part of the fabric of our society, with widespread impacts including national 
economic growth.
&lt;/p&gt;
&lt;p&gt;
It is equally important, again from an economic as well as cultural 
viewpoint, to know as much as possible about Australia&amp;acirc;&amp;rsquo; core professional 
musicians. These numbered 9,000 according to the 2001 Census and some 14,000 
according to David Throsby and Virginia Hollister&amp;rsquo;s report for the Australia 
council, &lt;i&gt;&lt;a href=&quot;http://www.ozco.gov.au/arts_resources/publications/dont_give_up_your_day_job_report/&quot; target=&quot;_blank&quot;&gt;Don&amp;rsquo;t give up your day job&lt;/a&gt;&lt;/i&gt; (p 16). This is the latest in 
the series of economic studies of professional artists in Australia headed by 
Professor Throsby, going back to 1983.
&lt;/p&gt;
&lt;p&gt;
Chart 1.4.1.6 provides a dramatic perspective on, first, how few of those 
involved in performing music derive significant income from their involvement. 
Of the 230,800 people concerned, only 27.4% derived any income from it, and only 
5% made $5,000 or more in the year to April 2004.
&lt;/p&gt;
&lt;p&gt;
The number of persons who made this amount of money (11,500) is of roughly 
similar magnitude to those counted in the 2001 Census (9,000), especially if we 
augment this number through Throsby and Hollister&amp;rsquo;s estimated number of 
professional musicians and composers in 2001 (14,000 with a range of uncertainty 
between 13,000 and 15,000). The Throsby/Hollister estimate attempts to 
compensate for the fact that the census only counts main occupations as 
practised in the week before the census. Many professionals combine performing 
with teaching or other jobs, and may therefore not be counted as professional 
musicians. This observation is frequently made, and is documented by Dawn 
Bennett in the previous entry, 1.3, of this statistical section.
&lt;/p&gt;
&lt;p&gt;
&lt;a href=&quot;#ph&quot;&gt;top&lt;/a&gt;
&lt;/p&gt;
&lt;/div&gt;
</description>
			<author>5758</author>
			<pubDate>Thu, 01 Jan 1970 00:00:00 +0100</pubDate>
		</item>
		<item>
			<title>Attendance at cultural performances</title>
			<link>http://www.mca.org.au/web/component/option,com_kb/task,article/article,84/</link>
			<description>&lt;br /&gt;&lt;b&gt;Attendance at cultural performances&lt;/b&gt;&lt;br /&gt;
&lt;span style=&quot;font-size: 8pt; color: #008000&quot;&gt;By Hans Hoegh-Guldberg (Economic Strategies Pty 
Ltd)&lt;br /&gt;
Last updated: 3 January 2008&lt;/span&gt;
&lt;p&gt;
&lt;b&gt;Contents&lt;/b&gt;
&lt;/p&gt;
&lt;ul&gt;
	&lt;li&gt;&lt;a href=&quot;#summ&quot;&gt;Summary&lt;/a&gt; 
	&lt;/li&gt;
	&lt;li&gt;&lt;a href=&quot;#main&quot;&gt;Main statistical sources and their compatibility&lt;/a&gt; 
	&lt;/li&gt;
	&lt;li&gt;&lt;a href=&quot;#grow&quot;&gt;Growth in attendances&lt;/a&gt; 
	&lt;/li&gt;
	&lt;li&gt;&lt;a href=&quot;#further&quot;&gt;Further details for 2006&lt;/a&gt; 
	&lt;/li&gt;
	&lt;li&gt;&lt;a href=&quot;#geo&quot;&gt;Geographical differences&lt;/a&gt; 
	&lt;/li&gt;
	&lt;li&gt;&lt;a href=&quot;#opmus&quot;&gt;Operas versus musicals&lt;/a&gt; 
	&lt;/li&gt;
	&lt;li&gt;&lt;a href=&quot;#parallel&quot;&gt;A parallel survey&lt;/a&gt; 
	&lt;/li&gt;
	&lt;li&gt;&lt;a href=&quot;#freq&quot;&gt;Stated frequency of attendances&lt;/a&gt; 
	&lt;/li&gt;
	&lt;li&gt;&lt;a href=&quot;#ticket&quot;&gt;Ticketing surveys&lt;/a&gt; &lt;/li&gt;
&lt;/ul&gt;
&lt;p&gt;
&lt;a href=&quot;http://www.mca.org.au/images/attendance-statistics-080122.pdf&quot; target=&quot;_blank&quot;&gt;Please click here&lt;/a&gt; for the statistical file associated with 
this paper. It opens in a separate window
&lt;/p&gt;
&lt;p&gt;
&lt;a title=&quot;summ&quot; name=&quot;summ&quot;&gt;&lt;/a&gt;
&lt;/p&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;b&gt;Summary&lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
The bulk of this paper discusses a series of surveys of attendances at 
cultural performances. These survey data are compared with ticketing statistics 
which cover mainly major performing companies. The attendance surveys are 
published by the Australian Bureau of Statistics (ABS), and the ticketing data 
by Live Performance Australia (LPA), the peak body of the entertainment 
industry. The two sources provide different types of data, both valuable for the 
understanding of the developing musical performance markets.
&lt;/p&gt;
&lt;p&gt;
Among the performance categories covered by the full period of the ABS 
surveys (1991-2006), the number of people attending classical music performances 
represent the only category increasing more rapidly than the underlying 
population growth. Attendances at popular music concerts have increased 
significantly more slowly than population growth, and so to a lesser extent have 
attendances at theatre and dance performances. 
&lt;/p&gt;
&lt;p&gt;
The category falling most short of keeping up with population growth is the 
combined group of musicals and operas. Supplementary evidence from the surveys 
suggests that opera has borne the brunt of this, while attendance at musicals 
has improved in recent years. 
&lt;/p&gt;
&lt;p&gt;
&lt;a title=&quot;main&quot; name=&quot;main&quot;&gt;&lt;/a&gt;
&lt;/p&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;b&gt;Main statistical sources and their 
	compatibility&lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
There are two main sources: the Australian Bureau of Statistics (ABS) 
periodic surveys of attendances at cultural venues and events, and more recent 
ticketing statistics compiled under the auspices of Live Performance Australia 
(&lt;a href=&quot;http://www.liveperformance.com.au/default.aspx?s=ticketing_survey&quot; target=&quot;&amp;rdquo;_blank&amp;rdquo;&quot;&gt;LPA&lt;/a&gt;). Because it is important to develop reliable and 
consistent attendance statistics, the apparent strengths and weaknesses of both 
sources are discussed in some detail in this section. Readers may wish to skip 
this technical section, which is possible through the hyperlinks in the contents 
list above. 
&lt;/p&gt;
&lt;p&gt;
&lt;a href=&quot;#ph&quot;&gt;top&lt;/a&gt;
&lt;/p&gt;
&lt;p&gt;
&lt;b&gt;&lt;i&gt;Australian Bureau of Statistics&lt;/i&gt;&lt;/b&gt;
&lt;/p&gt;
&lt;p&gt;
The Australian Bureau of Statistics has conducted surveys of attendances at 
cultural venues and events since 1991. The full statistics are published in a 
series of publications under the ABS Catalogue number (&amp;ldquo;Cat&amp;rdquo;) &lt;a href=&quot;http://www.abs.gov.au/AUSSTATS/abs@.nsf/ProductsbyCatalogue/39BCCBB0187DF4A5CA256DCD0081889A?OpenDocument&quot; target=&quot;_blank&quot;&gt;4114.0&lt;/a&gt;. This source is recommended for further consultation 
and analysis, though summary data are available in &lt;a href=&quot;http://www.abs.gov.au/AUSSTATS/abs@.nsf/ProductsbyCatalogue/B5DEC25B3155FC38CA2572FE007753AE?OpenDocument&quot; target=&quot;_blank&quot;&gt;Cat 4172.0&lt;/a&gt; which gives a statistical overview of a number of 
aspects of arts and culture in Australia. 
&lt;/p&gt;
&lt;p&gt;
The venues and events most relevant here are classical music concerts, 
popular music concerts, musicals and operas, plus theatre and dance 
performances, other performing arts, and cinemas for perspective. Musicals and 
operas are generally treated as a group but some separate data are available 
(discussed in the &amp;lsquo;operas versus musicals&amp;rsquo; section below). 
&lt;/p&gt;
&lt;p&gt;
The other attendance data in the publications refer to art galleries, 
museums, zoos and aquariums, botanic gardens, and libraries. These venues are 
not discussed here.
&lt;/p&gt;
&lt;p&gt;
The ABS surveys that appear to be sufficiently comparable to warrant 
presentation as a time series provide data for four 12- month periods ended June 
1991, March 1995, April 1999, and June 2006, respectively (but see below for the 
ABS&amp;rsquo;s own comments on compatibility). For convenience, the four surveys are 
labelled by the calendar year in which the twelve months end: for example, 2006 
rather than 2005-06.
&lt;/p&gt;
&lt;p&gt;
The following discussion of coverage and validity is largely based on the 
explanatory notes in the 2005-06 version of Cat 4114.0.
&lt;/p&gt;
&lt;p&gt;
The ABS conducts a monthly Australia-wide Multi-Purpose Household Survey 
(MPHS) as a supplement to its Labour Force Survey. It consists of a number of 
special-purpose surveys including, every four years or so, the survey of persons 
attending cultural venues and events. The 2005-06 survey was based on the MPHS, 
while the three previous surveys were based on the compatible Monthly Population 
Survey, which has existed since 1960. 
&lt;/p&gt;
&lt;p&gt;
Comparisons with data collected during 1995 and 1999 supplementary surveys to 
the Labour Force Survey are shown (and comparisons of 1991, 1995 and 1999 in the 
previous publication), but the ABS notes that &amp;ldquo;the methodology used in these 
surveys differed between years, as well as to the 2005&amp;ndash;06 MPHS, and this may 
affect the validity of comparisons. It is not possible to determine the extent 
to which the differences between the 2005&amp;ndash;06 MPHS and the 1995 and 1999 survey 
methodologies have contributed to the different results.&amp;rdquo;
&lt;/p&gt;
&lt;p&gt;
&lt;a href=&quot;http://www.abs.gov.au/AUSSTATS/abs@.nsf/ProductsbyCatalogue/C6BF68E57D3A308CCA256E21007686F8?OpenDocument&quot; target=&quot;&amp;rdquo;_blank&amp;rdquo;&quot;&gt;Additional attendance surveys&lt;/a&gt; were conducted in 2002 and 
2006 as part of yet another general ABS survey, the General Social Survey (GSS). 
The 2002 survey has been used previously in the measurement of trends since 
1991, but the explanatory notes in the 2005-06 publication now state that it is 
not compatible with the other attendance surveys and should not be used in the 
comparisons. 
&lt;/p&gt;
&lt;p&gt;
Table 9 in the statistical appendix compares the 2002 and 2006 
GSS-based surveys. It shows higher attendance rates for 2006 than the 2005-06 
Multi-purpose Household Survey (MPHS), even after adjusting the latter to 
exclude 15-17 year olds who were not part of the GSS. Attempting to explain the 
difference, the notes to the GSS publication suggest &amp;ldquo;context effects, as well 
as different collection methodologies (face-to-face interview in the GSS versus 
telephone interview in the MPHS). However, it has not been possible to determine 
the extent to which the differences between the MPHS and GSS methodologies may 
have contributed to the different results.&amp;rdquo; (p 97) 
&lt;/p&gt;
&lt;p&gt;
For the time being, then, we have two different time series but our main 
focus is on the four surveys between 1991 and the MPHS-based 2006 survey. These 
surveys basically cover the population aged 15 years and over living in private 
dwellings.
&lt;/p&gt;
&lt;p&gt;
The 2005-06 MPHS was based on a sample of 18,846 private-dwelling households, 
which yielded 14,219 full responses (88%). An individual aged 15+ was randomly 
selected from each household, the results aggregated, and each population group 
weighted and &amp;lsquo;benchmarked&amp;rsquo; against known population statistics to yield 
representative total population estimates for each group. 
&lt;/p&gt;
&lt;p&gt;
As in all surveys, the results are subject to statistical sampling errors, 
but additional non-sampling errors may arise from non-response and a range of 
other factors. The ABS notes that &amp;ldquo;every effort is made to reduce the 
non-sampling error to a minimum by careful design of questionnaires, intensive 
training and supervision of interviewers and effective processing 
procedures.&amp;rdquo;
&lt;/p&gt;
&lt;p&gt;
These publications enumerate people who attended a cultural venue or event at 
least once during the 12 months before interview in 2005&amp;ndash;06. It is noted that 
&amp;ldquo;the data presented cannot be compared with any &amp;lsquo;total admissions&amp;rsquo; 
administrative data held by cultural venues, since details in relation to 
attendees under 15 years of age were not part of the survey. In addition, total 
admissions data includes multiple attendances while the MPHS provides data on 
how many times a respondent visited a cultural venue or event.&amp;rdquo;
&lt;/p&gt;
&lt;p&gt;
The ABS does not note that asking people about their visits to cultural 
venues and events over 12 months may provide a bias, since few would be able to 
recall exactly whether attendances were within an exact period, let alone how 
often they visited during that period. It is difficult to determine whether this 
bias exaggerates or diminishes the number of estimated attendances.
&lt;/p&gt;
&lt;p&gt;
&lt;b&gt;&lt;i&gt;Live Performance Australia&lt;/i&gt;&lt;/b&gt;
&lt;/p&gt;
&lt;p&gt;
&lt;a href=&quot;%E2%80%9Dhttp://www.liveperformance.com.au/default.aspx?s=ticketing_survey%E2%80%9D&quot; target=&quot;&amp;rdquo;_blank&amp;rdquo;&quot;&gt;LPA&lt;/a&gt; is the peak body for Australia&amp;rsquo;s live entertainment and 
performing arts industry. Since December Quarter 2003, it has been conducting a 
survey described as &amp;ldquo;the cornerstone of the case which we make to government, 
the media and the general public about the economic, social and cultural value 
of the Australian live performance industry.&amp;rdquo; 
&lt;/p&gt;
&lt;p&gt;
The survey provides ticketing and revenue information for ten different live 
performance categories, of which six are reasonably comparable with the ABS 
categories. Each LPA category is carefully defined in the survey publication. 
The six categories are shown &lt;a href=&quot;http://www.mca.org.au/images/abs-lpa-comparison.pdf&quot; target=&quot;_blank&quot;&gt;here&lt;/a&gt; (musicals and operas are combined in most of the ABS 
tabulations).
&lt;/p&gt;
&lt;p&gt;
The four remaining LPA categories are children&amp;rsquo;s performances, special 
events, multi-category festivals, and single-category festivals. Apart from 
special events (exemplified by wrestling contests), these other categories would 
contain some musical performances. 
&lt;/p&gt;
&lt;p&gt;
The data sources are eight major ticketing companies (two national, and one 
from each State and Territory except Victoria and Tasmania), and the 28 members 
of the Australian Major Performing Arts Group (&lt;a href=&quot;http://www.ampag.com.au/2members.asp&quot; target=&quot;_blank&quot;&gt;AMPAG&lt;/a&gt;), whose 
ticketing statistics is organised through the Australia Council for the Arts. 
Data have been collected quarterly since December Quarter 2003, and we 
understand that results for 2006 will soon be available. The explanatory notes 
in the survey publication include the following observations:
&lt;/p&gt;
&lt;ul&gt;
	&lt;li&gt;No other ticketing company data are included, apart from the eight 
	participants. 
	&lt;/li&gt;
	&lt;li&gt;Attendance data refer to the number of tickets sold for events that occur in 
	the quarter. These figures include only paid tickets and not complimentary 
	tickets. It also excludes &amp;lsquo;sponsorship&amp;rsquo; tickets. The survey lists complimentary 
	and sponsors&amp;rsquo; tickets separately from paid tickets. 
	&lt;/li&gt;
	&lt;li&gt;Ticketing companies, the Australia Council, and festivals assign events to 
	the respective event categories on the basis of definitions developed by the 
	partners. 
	&lt;/li&gt;
	&lt;li&gt;On a quarterly basis, ticketing companies and the Australia Council send 
	their data to the University of Queensland, without disclosing individual 
	events. The data consist of total attendance and revenue data aggregated across 
	the events within each of the ten live entertainment categories. The data are 
	then compiled to produce national figures for each event category. 
	&lt;/li&gt;
	&lt;li&gt;Attendance at festivals is under-reported. Firstly, some festivals maintain 
	their own ticketing systems and are not yet part of this survey. Secondly, the 
	survey only reports paid tickets and does not include the substantial unpaid 
	and/or unticketed components of festivals. As each of the ten event categories 
	is mutually exclusive, single events which are a component of a festival are 
	reported only in the festival category. Attendance and revenues for other event 
	categories will not, therefore, include events held as part of festivals. This 
	ensures that attendance and revenues for the other eight categories of event are 
	necessarily also under-reported. 
	&lt;/li&gt;
	&lt;li&gt;The survey collects data on the market covered by the major ticketing 
	companies, the major performing arts companies and the leading festivals 
	included in the survey. The survey therefore underestimates the total live 
	entertainment industry in Australia. For instance, the survey does not collect 
	revenue and detailed attendance data for some regional touring (for performances 
	in community venues), for free performances, and for school performances by the 
	AMPAG companies. Audited annual returns for subsidised performing arts companies 
	indicate up to one million paid attendances of school children and teachers in 
	education venues across Australia. Free performances, including outdoor 
	concerts, are a core part of the work of many companies in dance, music, opera 
	and circus and are not included in the LPA ticketing statistics. &lt;/li&gt;
&lt;/ul&gt;
&lt;p&gt;
The differences are taken up in connection with the concluding statistical 
analysis (concentrating on Table 11) at the end of this paper. Basically, 
the LPA survey concerns &amp;lsquo;major&amp;rsquo; events but not the plethora of gigs which take 
place in local pubs and clubs, small festivals and many other live 
performances.
&lt;/p&gt;
&lt;p&gt;
The next sections describe the main ABS attendance data. Please click here 
for the &lt;a href=&quot;http://www.mca.org.au/images/attendance-statistics-080122.pdf&quot; target=&quot;_blank&quot;&gt;statistical file&lt;/a&gt;, which opens in a separate window. Readers 
are advised to keep the file open and refer to it as the story proceeds. 
&lt;/p&gt;
&lt;p&gt;
&lt;a href=&quot;#ph&quot;&gt;top&lt;/a&gt;
&lt;/p&gt;
&lt;p&gt;
&lt;a title=&quot;grow&quot; name=&quot;grow&quot;&gt;&lt;/a&gt;
&lt;/p&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;b&gt;Growth in attendances&lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
About 1.5 million persons aged 15 years and over stated that they had 
attended one or more classical music concerts according to the 2006 survey of 
attendance at cultural venues and events during the past 12 months (Table 1). With a total population of 16 million aged 15+, the attendance rate 
was 9.4% as shown in the right-hand half of the table. However, the attendance 
rate was only about 6% for young people below the age of 25, rising to a peak 
for 45-64 year olds (about 12.6% for the two age groups combined). It then 
declined but still managed to stay slightly above the 9.4% average for people 
aged 75 years plus. 
&lt;/p&gt;
&lt;p&gt;
The overall attendance rate for classical music concerts was the lowest of 
the performance categories shown in Table 1. Apart from cinemas, included 
for perspective and showing that 65% of the population aged 15+ said they had 
been to the pictures at least once in the past 12 months, the highest attendance 
rate was for popular music concerts (25.2%), followed by theatre (17%), other 
performing arts (dominated by circus) with 16.6%, musicals and operas as a group 
(16.2%), and dance performances (10.2%).
&lt;/p&gt;
&lt;p&gt;
Age distributions differed markedly with the highest proportions of younger 
people going to popular music concerts (especially the 18-24 year group). 
However, attendances were significant across the age groups and only dropped off 
markedly from age 65 or so.
&lt;/p&gt;
&lt;p&gt;
The third main music category, musicals and operas, had two peaks: one in the 
15-17 year group and one between 45 and 64. It is possible that the 
distributions would differ if we were able to show musicals and opera 
separately. Unfortunately the publication doesn&amp;rsquo;t show this detail. However, 
there were similarities with theatre goers showing similar peaks, and to some 
extent for people attending dance performances (though the second peak was in 
the 35-54 year groups rather than 45-64). All these categories (musicals and 
operas, theatre and dance) showed marked declines between the 15-17 and 18-24 
year groups, possibly because of the influence of school performances for the 
younger group.
&lt;/p&gt;
&lt;p&gt;
One significant change over the 15 years shown in Table 1 is the aging 
of the audience, especially among classical music concert goers (Chart 1). 
In 1991, the highest attendance rates were among the 35-44 and 45-54 year age 
groups, both at 10.2%. By 1995, the peak had shifted to the 45-54 year group, by 
1999 to the 45-54 and 55-64 year groups, with a further aging peaking on the 
55-64 year age group in 2006. Looking across each age group, the relative shift 
increased with age: the 15-17, 18-24 and 25-34 year attendance rates shifted 
much more modestly upward than was the case in the 55-64, 65-74 and 75+ 
groups.
&lt;/p&gt;
&lt;p&gt;
Classical music is unique among the categories covered in the ABS surveys of 
attendance at live performances, in showing a significant increase in overall 
attendance rates, from 8% in 1991 to 9.4% in 2006 (relative increase + 18%). 
Ignoring the intervening overall rates for 1995 and 1999, the comparable 
relative changes (all declines) were: 
&lt;/p&gt;
&lt;ul&gt;
	&lt;li&gt;-14% for popular music performances 
	&lt;/li&gt;
	&lt;li&gt;-19% for musicals and operas 
	&lt;/li&gt;
	&lt;li&gt;-7% for theatre performances, and 
	&lt;/li&gt;
	&lt;li&gt;-10% for dance performances. &lt;/li&gt;
&lt;/ul&gt;
&lt;p&gt;
The age patterns were also very different. There was an almost continuous 
decline in attendance rates for popular music performances from the 18-24 year 
group on, though the curve was much flatter in 2006 than in 1991, and attendance 
rates were actually slightly higher in 2006 than in 1991 for age groups 45 to 74 
(Chart 2). Popular music comprises a range of styles from pop, rock, 
hiphop, rap and heavy metal, to blues, jazz, country and folk. Some of the 
latter genres (such as jazz) may attract older people. We don&amp;rsquo;t know if these 
genres have become relatively more popular, but if so it would help explain the 
aging of the total popular music audience. There is also some evidence based on 
physical observations that older people are turning out for the increasing 
number of tours by the pop stars of their youth. 
&lt;/p&gt;
&lt;p&gt;
Attendance rates at musicals and operas (Chart 3) were lower in all age 
groups in 2006 than in 1991, with a definite shift towards the older groups. 
Attendance rates were relatively low among younger people but rose towards the 
middle age groups, peaking in the 45-54 year group in 1991 and in the 55-64 year 
group in 2006.
&lt;/p&gt;
&lt;p&gt;
Attendance rates for theatre goers in 1991 showed a generally falling trend 
through the ages (except for low rates in the 18-24 group). By 2006, however, 
there was a strong recovery in the three decadal age groups from 45 to 74, to 
above the attendance rates fifteen years earlier (Chart 4). Somewhat 
similar trends were observed for dance audiences, except that the recovery in 
the older age groups was weaker and largely limited to the 35-44 and 45-54 year 
age groups (Chart 5).
&lt;/p&gt;
&lt;p&gt;
In summary, the factors affecting total attendances over the fifteen years 
are population growth, changing age distributions, and changing preferences 
within age groups. The bottom panel of Table 1 shows the total population 
aged 15+ in each age group in 1991, 1995, 1999 and 2006, rising from 12.9 
million in 1991 to just above 16 million in 2006 (+23.4%). Clearly, the 
population has been aging as shown by the right-hand part of the bottom panel. 
The total population in the four youngest age groups (15-44) increased by 7% 
from about 7.9 million to 8.5 million. In stark contrast, the number of 45-54 
year olds increased by 54% between 1991 and 2006, 55-64 year olds by 58%, the 
65-74 year group by 23% and people 75+ by a staggering 84% - another striking 
sign that the population is aging. The relatively modest increase in those who 
were 65-74 years old in 2006 is a legacy of the depression years of the 1930s, 
when birth rates declined drastically. 
&lt;/p&gt;
&lt;p&gt;
We can now analyse the two main elements of total growth in attendances, of 
which total population growth accounted for 23.4% between 1991 and 2006 (Table 2). The second element is attendance rates, which consist of changes in 
age distribution and changes in the apparent popularity of particular 
performance types. The only category for which the latter factors acted in a 
positive fashion over the full period was classical music, increasing by 17.8% 
over and above the population growth factor. The attendance rate component was 
negative for the four other categories for which full 15-year data exist, with 
the worst effect for musicals and operas followed by popular music concerts. To 
the extent that the latter are especially favoured by young people, it would be 
relatively strongly affected by the changing age distributions. This is 
aggravated by young people seemingly becoming relatively less attracted to rock 
and pop, which seems to have been the case in the 15-24 year age groups 
according to Table 2. Would that be due to the development of technologies 
such as DVD and iPod, competing with live performances? 
&lt;/p&gt;
&lt;p&gt;
The right-hand half of Table 2 shows the same analysis between 1999 and 
2006. During that period, the total population aged 15+ increased by 7.3%, but 
there was a particularly strong recovery in audiences at dance performances 
followed by a 7.2% increase for classical music concerts taking total growth for 
these performances to 15% for the most recent seven-year period. There was also 
a modest additional growth in attendance rates for theatre performances as well 
as a near-zero growth in attendance rates for musicals and operas. Attendance 
rates for popular music concerts declined marginally for popular music concerts, 
shown by Table 1 to be concentrated on the age groups up to 44 years, 
whereas attendance rates for all older age groups all rose significantly. This 
may represent a general shift towards live performances of country, folk and 
jazz away from rock and pop, as well as older people being attracted to the pop 
idols of their own youth touring in increasing numbers. 
&lt;/p&gt;
&lt;p&gt;
Table 3 shows the changing distribution of the population aged 15+. The 
postwar baby boom shows up in strong increases in the shares of 45-64 year olds, 
in contrast to declining shares of younger age groups. The share of 65-74 year 
olds declined between 1995 and 2006 as the proportion of those born in the 
depression years of the 1930s increased. The oldest age group, 75+, increased at 
the highest rate of all those represented in Table 3.
&lt;/p&gt;
&lt;p&gt;
The median age of all audiences increased between 1991 and 2006 (Table 4). It was strongest for theatre performances (from 36.6 to 44.3 years, or 
a relative change of 21%), followed by popular music concerts (19%), other 
performing arts including circus and variety shows (19% since 1995), and 
classical music concerts (16%. Classical concert audiences had the highest 
median age throughout (49.3 years in 2006, compared with 36.7 year for popular 
music concerts).
&lt;/p&gt;
&lt;p&gt;
&lt;a href=&quot;#ph&quot;&gt;top&lt;/a&gt;
&lt;/p&gt;
&lt;p&gt;
&lt;a title=&quot;further&quot; name=&quot;further&quot;&gt;&lt;/a&gt;
&lt;/p&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;b&gt;Further details for 2006&lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
Female attendance rates in 2006 were almost without exception higher than 
male attendance rates for all audiences (Table 5). The only exceptions 
were the 25-34 and 65-74 year age groups for popular music concerts, and 65-74 
year olds for classical music concerts, which may or may not be statistically 
significant findings. The relative difference in attendance rates over all age 
groups varied quite markedly:
&lt;/p&gt;
&lt;ul&gt;
	&lt;li&gt;Dance performances: female attendance rates: 93% higher (with a particularly 
	high ratio for 15-17 year olds, but even the minimum difference was as high as 
	44%) 
	&lt;/li&gt;
	&lt;li&gt;Musicals and operas: 72% higher (and only the 55-74 year groups falling 
	below that average) 
	&lt;/li&gt;
	&lt;li&gt;Theatre performances: 59% higher (difference 37% or higher throughout, with 
	the largest difference for people 75+) 
	&lt;/li&gt;
	&lt;li&gt;Classical music performances: 29% higher 
	&lt;/li&gt;
	&lt;li&gt;Other performing arts: 24% higher (with the largest differences for ages up 
	to 24) 
	&lt;/li&gt;
	&lt;li&gt;Cinemas: 8% higher (relatively little variation, except for higher ratios 
	for ages 65+) 
	&lt;/li&gt;
	&lt;li&gt;Popular music concerts: 3% higher (largest differences in ratios for people 
	under 25). &lt;/li&gt;
&lt;/ul&gt;
&lt;p&gt;
These ratios are affected by changes in the overall number of females 
relative to males, shown in the bottom panel of Table 5. Apart from the 
top age group of 75+, where the number of women exceed the number of men by 33%, 
the differences are generally modest (the total number of females 15+ exceeded 
males by 3%).
&lt;/p&gt;
&lt;p&gt;
The surveys also explore other characteristics of respondents (see details in 
the publications themselves): 
&lt;/p&gt;
&lt;ul&gt;
	&lt;li&gt;Educational achievement: There is a general decline in attendance rates 
	going from people with post-graduate degrees or diplomas, through bachelors, 
	diploma and certificate holders, to people not progressing beyond Year 12, 11 or 
	10. However, the differences were smaller for popular concert audiences than for 
	other audiences such as classical music. (Research by the US Smithsonian 
	Institution has identified education as the key variable in determining cultural 
	attendances, so maybe it should be given greater prominence than in the current 
	version of this paper.) 
	&lt;/li&gt;
	&lt;li&gt;Household income: Attendance rates increase with income in the various 
	performance categories covered in this section, with a particularly high jump 
	for classical music audiences from the second-highest to the highest income 
	quintile. There was an interesting contrast here with attendance rates in 
	libraries, which were largely unchanged across all five income quintiles, from 
	the lowest to the highest, around an average attendance rate of 34%. 
	&lt;/li&gt;
	&lt;li&gt;Employment status: Attendance rates were generally higher among employed 
	persons (whether full-time or part-time) than among the unemployed or people not 
	in the labour force. 
	&lt;/li&gt;
	&lt;li&gt;Country of birth: Attendance rates were generally higher among people born 
	in other English-speaking countries than among people born in Australia or in 
	non-English-speaking countries. This was particularly the case among classical 
	music and theatre audiences. 
	&lt;/li&gt;
	&lt;li&gt;Household composition: The highest attendance rates at classical music 
	performances were among one-family households consisting of a couple only, and 
	lone-person households. These same household types attracted the lowest 
	attendance rates for popular music performances, with higher attendance rates 
	among one-family households with dependent children whether headed by a couple 
	or one parent only &amp;ndash; and among &amp;lsquo;other households&amp;rsquo; including multiple-family 
	households and households consisting of unrelated adults. &lt;/li&gt;
&lt;/ul&gt;
&lt;p&gt;
&lt;a href=&quot;#ph&quot;&gt;top&lt;/a&gt;
&lt;/p&gt;
&lt;p&gt;
&lt;a title=&quot;geo&quot; name=&quot;geo&quot;&gt;&lt;/a&gt;
&lt;/p&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;b&gt;Geographical differences&lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
Attendance rates for classical music performances in 2006 were significantly 
higher than the overall average of 9.4% in the Australian Capital Territory 
(13.3%), higher in Western Australia (10.8%) and marginally higher in New South 
Wales and South Australia (9.7%). The lowest attendance rates were in Queensland 
and the Northern Territory, at 8.2% and 7.9%, respectively (Table 6). 
Classical music concert attendance rates in Australia as a whole were 
significantly higher in the six State capital cities (10.6%) than in the rest of 
Australia (7.4%) according to the second panel of Table 6. The relative 
difference (43%) may explain some of the differences in total geographical 
attendance rates: the capital city component of the ACT was practically 100% 
according to the bottom panel of the table, and Western Australia had the 
second-highest capital city proportion, while Queensland and the Northern 
Territory had the second- and third-lowest capital city proportions (only 
Tasmania showed a lower proportion). So the ratio of capital city to total 
population provides part but not all the explanation of differences between 
attendance rates for classical music audiences. 
&lt;/p&gt;
&lt;p&gt;
The capital city ratio is less likely to influence differences between 
popular music attendance rates as the overall attendance rate was only 7% higher 
in the six State capital cities than in the rest of Australia. The attendance 
rate was again way above the Australian average of 25.2% in the ACT (34.1%) and 
Western Australia (30.8%). The lowest rates were in NSW (23.9%), Victoria 
(23.6%), and Tasmania (24.1%).
&lt;/p&gt;
&lt;p&gt;
The geographical audience pattern for musicals and operas is different again 
from the other categories in Table 6. While attendance rates in the six 
State capitals exceeded the rates in the rest of Australia by 43%, the pattern 
across States and Territories only partly reflected the relative dominance of 
the capital city. The overall attendance rate of 16.3% was exceeded in the ACT 
(19.1%) and Victoria (18.4%), both areas with a relatively high proportion of 
the population living in the capital city. But attendance rates in South and 
Western Australia, which both have an even greater concentration in the capital 
city than Victoria, were relatively low. 
&lt;/p&gt;
&lt;p&gt;
&lt;a href=&quot;#ph&quot;&gt;top&lt;/a&gt;
&lt;/p&gt;
&lt;p&gt;
&lt;a title=&quot;opmus&quot; name=&quot;opmus&quot;&gt;&lt;/a&gt;
&lt;/p&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;b&gt;Operas versus musicals&lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
The main classification of performance categories combines operas and 
musicals, but there are supplementary tables that enable the two to be 
separated. Table 7 shows the number of people aged 15 and over who 
attended either opera or musicals or both during the past year. Table 8 
shows the associated attendance rates. The three panels of each table refer to 
the surveys in 2006, 1999 and 1995, respectively.
&lt;/p&gt;
&lt;p&gt;
The left-hand column of each table shows the main &amp;lsquo;opera or musical&amp;rsquo; question 
included in other tables (2,614,000 persons in 2006). This excludes persons who 
went to both musicals and operas, and therefore would add to the total number of 
attendances if musicals were split from operas. The next three columns show who 
went to musicals, who went to operas, and the total of these two. In 2006, this 
total amounted to 2,807,700 persons, which exceeded the main &amp;lsquo;operas or 
musicals&amp;rsquo; total by 193,700.
&lt;/p&gt;
&lt;p&gt;
The inference is that these 193,700 went to both operas and musicals, and 
should therefore be counted in both categories if separated from each other. 
Hence, out of the total 2,402,100 people who attended musicals according to 
Table 7, that number less 193,700 (or 2,208,400) must have attended 
musicals but not opera, and 211,900 must have attended operas but not musicals. 
The sum of 193,700, 2,208,400 and 211,900 equals the main total &amp;lsquo;operas or 
musicals&amp;rsquo; figure of 2,614,000 persons in 2006.
&lt;/p&gt;
&lt;p&gt;
Because these statistics are available for three years, we can now infer that 
attendance at opera performances showed a steady downward trend between 1995 and 
2006. Those attending both operas and musicals fell from 307,300 in 1995 to 
217,000 in 1999 and 193,700 in 2006 (a total fall of 37%). Those attending opera 
only declined from 327,100 in 1995 to 293,500 in 1999 and 211,900 in 2006 (a 
fall of 35%). Meanwhile, attendance at musicals but not operas fell in the 
1995-99 period but then showed a substantial increase in the period to 2006, 
leaving the total number of people attending musicals at approximately the same 
level as in 1995. 
&lt;/p&gt;
&lt;p&gt;
In terms of attendance rates, eliminating the impact of population growth, 
there was a fall from 17% for musicals in 1995 to 14.3% in 1999, followed by an 
increase to 15% in 2006 (total relative decline 1995-2006: 12%). For operas, the 
decline was continuous from 4.5% in 1995 to 3.4% in 1999 to 2.5% in 2006 (total 
relative decline 1995-2006: 44%). The two components making up total opera 
attendance rates both showed large relative declines over the 11 years: those 
attending both operas and musicals by 45% from 2.2% to 1.2%, and those attending 
opera only by 44% from 2.3% to 1.3%.
&lt;/p&gt;
&lt;p&gt;
The downward trends in opera attendance rates were generally evident across 
Australia, but Tasmania and the Northern Territory appeared to buck the less 
violent overall downward trend in attendance rates for musicals (though these 
rates are subject to relatively high statistical sampling error).
&lt;/p&gt;
&lt;p&gt;
&lt;a href=&quot;#ph&quot;&gt;top&lt;/a&gt;
&lt;/p&gt;
&lt;p&gt;
&lt;a title=&quot;parallel&quot; name=&quot;parallel&quot;&gt;&lt;/a&gt;&lt;b&gt;&lt;/b&gt;
&lt;/p&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;b&gt;A parallel survey &lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
It was mentioned in the introduction to this paper that attendance statistics 
have also been collected as part of the ABS General Social Survey. This evidence 
is summarised in Table 9, showing overall results for males, females and 
total persons in 2002 and 2006, and a valuable comparison showing that these new 
results are higher than shown by the main surveys analysed above. 
&lt;/p&gt;
&lt;p&gt;
The main result is a general increase in attendance rates for all live 
performance categories between 2002 and 2006, ranging from 9% to 12.4% for 
classical music performances and 26.4% to 32.4% for popular music performances, 
to an increase from 18.7% to 23.2% for musicals and operas. All the 2006 rates 
are way above the comparable MPHS survey results described in previous sections. 
As described in the introductory section, the ABS rather disconcertingly is 
unable to explain why the results are so different. For the time being, we 
recommend using the results from the main surveys described in previous 
sections, though they may err on the conservative side.
&lt;/p&gt;
&lt;p&gt;
&lt;a href=&quot;#ph&quot;&gt;top&lt;/a&gt;
&lt;/p&gt;
&lt;p&gt;
&lt;a title=&quot;freq&quot; name=&quot;freq&quot;&gt;&lt;/a&gt;
&lt;/p&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;b&gt;Stated frequency of attendances&lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
Respondents to the main surveys described in previous sections were asked to 
state the number of times they had attended particular events and venues during 
the previous 12 months (Table 10). In the 2006 survey the question was 
quite specific for low frequencies (once, twice, three times, four times, five 
times), and then grouped into 6-10 times, 11-20 times, and 21 and more times. As 
a result, we can infer a total number of attendances in the 12 months ended June 
2006 by assigning reasonable average figures to the grouped 6-10, 11-20 and 21+ 
questions. 
&lt;/p&gt;
&lt;p&gt;
For instance, 1.5 million persons attending classical music performances 
appeared to have generated some 4.5 million attendances, or an average of about 
three concerts each. Four million people attending popular music performances 
appeared to attend almost 14 million performances, or about 3.4 concerts each. 
And so on for the other performance types shown in Table 10.
&lt;/p&gt;
&lt;p&gt;
These results can be compared with the Live Performance Australia ticketing 
survey discussed in the early part of the paper. Bearing in mind that this 
survey concentrates on elite performances by major performing arts organisations 
and those performances administered by major ticketing companies, we would not 
expect anything like full agreement. The coverage is too different.
&lt;/p&gt;
&lt;p&gt;
Table 11 bears this out. For dance, classical music, popular music, and 
theatre performances, the estimated attendances from the ABS survey as reported 
in Table 10 are between 3.3 and 4.1 times higher than the LPA survey 
results. The multiple is smaller for musicals and operas (presumably because a 
larger proportion is performed by major organisations) but still a substantial 
1.76. 
&lt;/p&gt;
&lt;p&gt;
It is important to reconcile these differences as far as possible. One 
problem with the ABS survey is that of exact recall over 12 months. When did I 
last go to the opera? Not easy to remember, let alone how many times I went 
during the exact past 12 months. Against this, the exclusion of children is the 
most important omission in the ABS survey.
&lt;/p&gt;
&lt;p&gt;
It is difficult to estimate how this affects the ABS findings. It is also 
very hard to determine the coverage of the LPA survey. Clearly it encompasses 
the major events put on by the AMPAG companies or otherwise covered by the major 
ticketing bureaux, and the major participating festivals (mentioned but not 
specified in the LPA survey publication). But a large number of events is not 
covered, which would have drawn responses in the ABS survey, including:
&lt;/p&gt;
&lt;ul&gt;
	&lt;li&gt;A plethora of popular music gigs in clubs, pubs and elsewhere. 
	&lt;/li&gt;
	&lt;li&gt;A large number of local and other relatively minor festivals, customarily 
	doing their own ticketing. 
	&lt;/li&gt;
	&lt;li&gt;School concerts, outdoor mass events, and other performance settings, have 
	already been mentioned. &lt;/li&gt;
&lt;/ul&gt;
&lt;p&gt;
One obvious line of research is to develop the above points into a 
comprehensive list of what is and what is not included in the ABS and LPA 
surveys, respectively. Both approaches provide important results and should be 
retained but not rigidly compared. The ABS survey provides valuable numbers, 
including time series, on participation in cultural events. The main time series 
from 1991 to 2006 provides a comparison which makes sense. 
&lt;/p&gt;
&lt;p&gt;
&lt;a href=&quot;#ph&quot;&gt;top&lt;/a&gt;
&lt;/p&gt;
&lt;p&gt;
&lt;a title=&quot;ticket&quot; name=&quot;ticket&quot;&gt;&lt;/a&gt;
&lt;/p&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;b&gt;The LPA Ticketing Survey&lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
The ticketing survey, summarised in Table 12, provides an important 
view of major live performance events, which may be extended but which it is 
difficult to imagine ever being developed to cover all live performances in 
Australia &amp;ndash; which is not really its intention anyway. The data provide a new 
dimension of knowledge about the music and adjacent sectors of the Australian 
economy, and one cannot but encourage its continuation.
&lt;/p&gt;
</description>
			<author>5758</author>
			<pubDate>Thu, 01 Jan 1970 00:00:00 +0100</pubDate>
		</item>
		<item>
			<title>International classical music audience attendance trends 1990-2005</title>
			<link>http://www.mca.org.au/web/component/option,com_kb/task,article/article,85/</link>
			<description>&lt;br /&gt;&lt;span style=&quot;font-size: 12pt; color: #996633&quot;&gt;&lt;b&gt;International classical music audience 
attendance trends 1990-2005&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;
&lt;span style=&quot;font-size: 8pt; color: #008000&quot;&gt;By 
Rachel Hocking (University of New South Wales) and Richard Letts (MCA)&lt;br /&gt;
Last 
updated: 22 January 2008&lt;/span&gt; 
&lt;p&gt;
&lt;a href=&quot;http://www.mca.org.au/images/table-2221r.pdf&quot; target=&quot;_blank&quot;&gt;Table 1&lt;/a&gt; has three sections, under the headings &amp;ldquo;Classical Music Concerts&amp;rdquo;, 
&amp;ldquo;Opera Attendance&amp;rdquo; and &amp;ldquo;Ballet Attendance&amp;rdquo;. Classical music in this report 
refers to the widely-used term for artistic music played in concert-hall venues 
by classically-trained musicians. While many reports referred to theatrical 
productions and music concerts, the figures included here are only from reports 
that specifically used the terms &amp;lsquo;classical music&amp;rsquo;, &amp;lsquo;opera&amp;rsquo; and &amp;lsquo;ballet&amp;rsquo; (as 
opposed to dance or contemporary dance). Ballet has been included as ballet 
orchestras are a source of employment for classical musicians (e.g. the 
Netherlands Ballet Orchestra and the English National Ballet Orchestra), and 
ballet companies continue to perform classical works with music by composers 
from the classical repertoire.
&lt;/p&gt;
&lt;p&gt;
We have used the data primarily to show trends in attendance. This is in any 
case our main interest. But additionally, the data available from the various 
countries differs considerably. In some cases we are given audience numbers &amp;ndash; 
although it is not always clear whether this is the total number of individual 
people attending, the total number of attendances (paid and free), or the number 
of tickets sold. In some cases we are given a percentage, presumably the 
percentage of population attending. But we do not necessarily know whether this 
is total population or adult population and in some instances, the percentage is 
so high that there is some question as to whether these are percentages of total 
population or, for instance, percentage of population that attends the 
performing arts. Finally, of course, in some cases we might be reading the 
results of sampling surveys and in others, the results of e.g. census questions 
to the entire population.
&lt;/p&gt;
&lt;p&gt;
Nevertheless, however the attendances are measured, provided that for each 
country the basis of measurement is constant, we can see trends. This is, after 
all, what we need to know: is support for classical music performance increasing 
or declining? 
&lt;/p&gt;
&lt;p&gt;
The figures have been collated to show a percentage increase or decrease, for 
the period over which the data are available. For classical music, for example, 
full trends (1990-2005) are available for seven of 13 cases, data for 1996-2005 
for four, and for 1990-2000 for two countries. Data sources are shown at the 
bottom of Table 2.2.2.1 and more completely at the end of our article.
&lt;/p&gt;
&lt;p&gt;
From the information given, classical music attendances decreased in 8 out of 
the 13 reports found, over the period covered by the statistics. However, 7 out 
of 10 reports showed an increase in opera attendance and 4 out of 5 reports 
showed an increase in ballet attendance, assuming ballet and opera grew at 
approximately similar rates (they were combined in the Italian statistics).
&lt;/p&gt;
&lt;p&gt;
Reasons that were given in the surveys for decreasing audiences included: 
&lt;/p&gt;
&lt;ul&gt;
	&lt;li&gt;a feeling that the attendee is not prepared for this type of cultural event 
	(Bulgaria) 
	&lt;/li&gt;
	&lt;li&gt;an expectation that these events are only attended by one type of person, 
	the elite (Bulgaria, Malta, Romania) 
	&lt;/li&gt;
	&lt;li&gt;lack of financial support and free time (Bulgaria, Romania) 
	&lt;/li&gt;
	&lt;li&gt;a lower standard of living (Croatia) 
	&lt;/li&gt;
	&lt;li&gt;family commitments (Ireland) 
	&lt;/li&gt;
	&lt;li&gt;lack of interest or preference to other activities (Ireland) 
	&lt;/li&gt;
	&lt;li&gt;a move towards the consumption of culture within the home (Croatia, Romania, 
	Russia) 
	&lt;/li&gt;
	&lt;li&gt;difficulty getting tickets from decreasing ticketing outlets (Croatia) 
	&lt;/li&gt;
	&lt;li&gt;difficulty getting to performances because of worsening public transport 
	(Russia) 
	&lt;/li&gt;
	&lt;li&gt;lack of cultural performances in rural areas (Denmark, Norway) 
	&lt;/li&gt;
	&lt;li&gt;lack of education and employment/financial ability (Denmark, Norway, Russia, 
	Serbia) 
	&lt;/li&gt;
	&lt;li&gt;gender differences (Denmark &amp;ndash; women attend cultural events more than men, 
	Norway) 
	&lt;/li&gt;
	&lt;li&gt;ethnic/cultural differences (Belgium) 
	&lt;/li&gt;
	&lt;li&gt;lack of full-time performing arts institutions (Malta) 
	&lt;/li&gt;
	&lt;li&gt;scaling down of cultural programmes within schools (Poland) 
	&lt;/li&gt;
	&lt;li&gt;lack of programs within schools (Scotland &amp;ndash; it was found here that if 
	children aren&amp;rsquo;t encouraged in culture and sports, then they will be less likely 
	to pursue these activities later in life) 
	&lt;/li&gt;
	&lt;li&gt;move from state-funded to privately-funded venues for culture, meaning that 
	companies need to focus on fundraising over other issues (Moldova) &lt;/li&gt;
&lt;/ul&gt;
&lt;p&gt;
Some governments have attempted to address the decreasing numbers with some 
examples given below: 
&lt;/p&gt;
&lt;ul&gt;
	&lt;li&gt;In The Netherlands it was found that people who were &amp;lsquo;mature-aged&amp;rsquo; were more 
	interested in traditional culture (including classical music) so programs in 
	arts education were introduced into schools, to attract younger and newer 
	audiences (e.g. immigrants). 
	&lt;/li&gt;
	&lt;li&gt;In Slovenia (where apparently more people attend a symphonic performance 
	than the football), venues have remarketed themselves as conference centres as 
	well as for performances. This allows cross-subsidies for the concerts. 
	&lt;/li&gt;
&lt;/ul&gt;
&lt;p&gt;
Sources:
&lt;/p&gt;
&lt;p&gt;
&lt;a href=&quot;http://www.artscouncil.ie/Publications/PublicandtheArts2006.pdf&quot; target=&quot;_blank&quot;&gt;&lt;i&gt;Arts Council of Ireland Report&lt;/i&gt;&lt;/a&gt;. Last accessed 10th 
January 2008
&lt;/p&gt;
&lt;p&gt;
&lt;a href=&quot;http://www.culturalpolicies.net/&quot; target=&quot;_blank&quot;&gt;Compendium 
Report&lt;/a&gt; from &lt;i&gt;Compendium: cultural policies and trends in Europe&lt;/i&gt;. The 
Council of Europe/ERICarts &amp;ldquo;Compendium of Cultural Policies and Trends in 
Europe, 8th edition&amp;rdquo;, 2007. Lists policies and trends by countries with links to 
arts sites. Reports can be generated from this site, but each country does not 
provide statistics in the same format. Last accessed 14th January 2008.
&lt;/p&gt;
&lt;p&gt;
&lt;a href=&quot;http://www.canadacouncil.ca/NR/rdonlyres/7C40DFE3-BE69-4774-AC30-304EA37D68C2/0/census2001e.doc&quot; target=&quot;_blank&quot;&gt;Council for the Arts Report&lt;/a&gt; - &lt;i&gt;Overview of Key Demographic 
Trends - Possible Impact on Canadian Arts Attendance&lt;/i&gt; (2001 Census), 
November 2003. Last accessed 10th January 2008
&lt;/p&gt;
&lt;p&gt;
&lt;a href=&quot;#ph&quot;&gt;top&lt;/a&gt;
&lt;/p&gt;
</description>
			<author>5758</author>
			<pubDate>Thu, 01 Jan 1970 00:00:00 +0100</pubDate>
		</item>
		<item>
			<title>Indigenous artists</title>
			<link>http://www.mca.org.au/web/component/option,com_kb/task,article/article,83/</link>
			<description>&lt;br /&gt;&lt;div class=&quot;snap_preview&quot;&gt;
&lt;a title=&quot;ph&quot; name=&quot;ph&quot;&gt;&lt;/a&gt;&lt;br /&gt;
&lt;span style=&quot;font-size: 8pt; color: #008000&quot;&gt;By Hans Hoegh-Guldberg 
(Economic Strategies Pty Ltd).&lt;br /&gt;
Last revised 29 October 2007&lt;/span&gt; 
&lt;p&gt;
This article refers to &lt;a href=&quot;http://www.mca.org.au/images/indigenous-arts-participation.pdf&quot; target=&quot;_blank&quot;&gt;data&lt;/a&gt; derived from an Australian Bureau of 
Statistics publication, relating to the 2001 Census, a large-scale survey of 
Aboriginal and Torres Strait Islanders conducted in 2002, and other relatively 
recent sources. The publication can be downloaded &lt;a href=&quot;http://www.abs.gov.au/AUSSTATS/abs@.nsf/ProductsbyCatalogue/B028A2127779CC74CA2571D50017A0DF?OpenDocument&quot; target=&quot;_blank&quot;&gt;here&lt;/a&gt;, to supplement the statistical analysis shown 
below.&amp;nbsp;
&lt;/p&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;b&gt;General demographic characteristics (Table 1)&lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
The resident adult Indigenous population (aged 15+) numbered about 280,000 in 
the 2001 Census, 1.8% of total Australian adults. The gender distribution was 
similar among Indigenous and non-indigenous people with men slightly 
outnumbering women.
&lt;/p&gt;
&lt;p&gt;
The age distributions are, however, very different due to a combination of 
higher birth and death rates among Indigenous people. There were 156,000 persons 
aged 15-34 years, 92,000 aged 35-54, and only 31,300 aged 55 and over. The 
non-indigenous population was much more evenly distributed among the three age 
groups; indeed the 35-54 group slightly outnumbered the 15-34-year-olds and the 
number in the older age group was only about 22% less than the two other groups 
- signs of an aging population.
&lt;/p&gt;
&lt;p&gt;
The discrepancy is clear from the Indigenous share of the total population in 
each age group: 2.8% of total 15-34-year-olds, 1.6% of 35-54-year olds but only 
0.7% of older people. If we consider the total Indigenous population including 
children (458,500 in 2001), we find it represented 2.4% of the total resident 
population in Australia. There were about 179,000 Indigenous children aged under 
15, as much as 4.4% of all Australian children.
&lt;/p&gt;
&lt;p&gt;
The third demographic characteristic in Table 1 was the distribution 
between remote and non-remote locations. Only 2% of the non-indigenous 
population lived in remote areas in 2001, compared with 27.5% of Indigenous 
people. Nevertheless, non-indigenous people outnumbered Indigenous people in all 
remote areas taken together by almost four to one. (However, the proportion of 
Indigenous people varied widely, with very little non-indigenous representation 
in the most remote areas.)
&lt;/p&gt;
&lt;p&gt;
The other side of the story is that 72.5% of Indigenous people lived in 
non-remote areas including capital cities and country towns. Full regional 
detail is available for the 2001 Census in the Australian Bureau of Statistics 
&lt;a href=&quot;http://www.abs.gov.au/AUSSTATS/abs@.nsf/ProductsbyCatalogue/2B3D3A062FF56BC1CA256DCE007FBFFA?OpenDocument&quot; target=&quot;_blank&quot;&gt;Cat 4713.0&lt;/a&gt;.
&lt;/p&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;b&gt;Participation in creative arts&lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
Table 2 shows Indigenous participation in creative arts activities 
according to the major Indigenous social survey the ABS conducted in 2002, which 
inquired about activities over the previous twelve months. According to this, 
16.2% made Indigenous arts or crafts, 8.3% (about 23,000 people) had performed 
Indigenous music, dance or theatre, and 12.6% wrote or told Indigenous stories. 
Over one-quarter of adult Indigenous people (some 77,000 persons) had been 
involved in at least one of these creative arts activities.
&lt;/p&gt;
&lt;p&gt;
The participation rate was highest in remote areas in all three activities. 
For instance, 10.4% of people in remote areas had performed Indigenous music, 
dance or theatre compared with 7.5% elsewhere. But in absolute numbers 
non-remote areas outnumbered remote areas, because most Indigenous people live 
in non-remote areas. The total estimated number of music, dance or drama 
performers in remote areas was 8,000, compared with more than 15,000 in 
non-remote areas. It is also important to mention that the survey concentrated 
on Indigenous creative arts and presumably therefore omits all those 
Indigenous people engaged in mainstream music. These may be relatively 
more numerous in non-remote areas.
&lt;/p&gt;
&lt;p&gt;
Only about 28% of Indigenous people engaged in Indigenous creative arts 
activities received any payment for these (second panel of Table 2). The 
proportion varied from 33% of performing artists and 31% of visual artists to 
only 21% of storytellers and authors. The proportion of performing artists 
receiving payment was less in remote areas (27%) than elsewhere (35%).
&lt;/p&gt;
&lt;p&gt;
More males than females were performing artists, while females were in a 
majority among visual artists, storytellers and writers. The same pattern 
emerged for paid activities (Table 3).
&lt;/p&gt;
&lt;p&gt;
There were slightly more musicians, dancers and actors in the younger age 
group than among older people, while the latter were predominant among 
storytellers and actors. Participant rates didn&amp;rsquo;t vary much among age groups for 
visual artists.
&lt;/p&gt;
&lt;blockquote&gt;
	&lt;p&gt;
	&lt;b&gt;Income (Table 4)&lt;/b&gt;
	&lt;/p&gt;
&lt;/blockquote&gt;
&lt;p&gt;
Before going into this subject, the difference between the Census, which is 
the source of the income data, and the information gleaned from the 2002 social 
survey in the previous section, must be borne in mind. The Census counts only 
main occupations reported for the week before the Census date (a mere 63 
musicians and related workers in 2001 as shown in Table 4). The social 
survey asked for all creative arts activities taking place during the 
previous twelve months. We have already found that 23,000 persons had done so, 
though most were unpaid. Nevertheless, it is clear that counting only paid 
performers, part-time performers at about 7,500 outnumbered the Census count of 
what we may assume are reasonably full-time workers by more than 100 to 1.
&lt;/p&gt;
&lt;p&gt;
The Census is important because it shows how few Indigenous people had made 
it to full-time professional artistic status by 2001. In fact, the numbers 
were extremely low except possibly for visual artists (see right-hand column 
of Table 4).  
&lt;/p&gt;
&lt;p&gt;
Compounding this, incomes were uniformly lower among full-time Indigenous 
arts professionals than among their non-indigenous colleagues. For six of the 
eight occupational groups shown in Table 4, the ratio of median incomes of 
Indigenous to non-indigenous people varied between 91% for authors and 76% for 
film, TV, radio and stage directors. The ratio was lower for dancers and actors 
(66%) and especially so for professional musicians, for whom the median income 
of Indigenous people was only half that of non-indigenous people.
&lt;/p&gt;
&lt;p&gt;
The median income of Indigenous musicians and related workers according to 
the 2001 Census was the lowest (by far) of any of the eight occupational groups 
in Table 4. That of visual artists was the second-lowest.
&lt;/p&gt;
&lt;p&gt;
The impression is reinforced by the statistics of &amp;lsquo;high&amp;rsquo; incomes in the 
right-hand part of the table, &amp;lsquo;high&amp;rsquo; between defined as $700 or more per week 
($36,400 on an annual basis in 2001, equivalent to about $42,200 at 2006 
prices). Differences in the income distributions blur the comparison, including 
a relatively long &amp;lsquo;tail&amp;rsquo; of high incomes for Indigenous musicians compared to, 
say, journalists who tend to be paid in the middle ranges rather than either 
extremely poorly or getting into the &amp;lsquo;high&amp;rsquo; range as defined here.
&lt;/p&gt;
&lt;p&gt;
&lt;a href=&quot;#ph&quot;&gt;top&lt;/a&gt;
&lt;/p&gt;
&lt;/div&gt;
</description>
			<author>5758</author>
			<pubDate>Thu, 01 Jan 1970 00:00:00 +0100</pubDate>
		</item>
	</channel>
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