CHORAL CONDUCTORS TODAY: A PROFILE

Transcription

1 CHORAL CONDUCTORS TODAY: A PROFILE A REPORT ON SURVEY FINDINGS WITH SUPPORT FROM THE WILLIAM AND FLORA HEWLETT FOUNDATION THE NATIONAL ENDOWMENT FOR THE ARTS CHORUS AMERICA 2005 THIS REPORT MAY NOT BE DUPLICATED OR DISTRIBUTED WITHOUT PRIOR PERMISSION FROM CHORUS AMERICA. 1

2 CHORAL CONDUCTORS TODAY: A PROFILE A REPORT ON SURVEY FINDINGS Chorus America s position as the leading source of information, professional development, and advocacy for choruses prompted us to continue our ongoing investigation into how choruses and leaders of choruses work. Choral Conductors Today: A Profile contains the results of our latest inquiry to understand better the roles, responsibilities, and challenges of each component of the choral ecosystem and how they interact so that leaders of choruses can rely on data rather than anecdotes to guide their decision-making. Moreover, the times demand that we understand more about our art and the way it is delivered, so that we can help shape the future rather than merely react to current conditions. In an effort to learn more about the conductors of choruses, Chorus America embarked on a new study to gather information on the backgrounds, experiences, and the kinds of work conductors do. Our aim was to test assumptions and look for trends that might not have been apparent previously. The study focused on choral conducting as an occupation. Using an online survey, we posed questions to conductors about their education, employment and other activities, the number and type of choruses led, compensation and benefits from each, range of responsibilities, level of satisfaction, as well as about a variety of other topics. The survey of 48 questions was posted online in January 2005 using a link from the home page of Chorus America s website. We informed many thousands of choral conductors about the survey via letters, s, newsletters, and web message board postings. A total of 684 choral conductors responded, who in aggregate direct 1,612 choruses. This sample is large enough by standards of statistical analysis to correspond with the characteristics of the population of choral conductors as a whole. While historically Chorus America has focused its efforts primarily on the needs of independent choruses those that operate as nonprofit community organizations and are not funded by a school or church we were eager to learn about conductors of all kinds of choruses and to expand our knowledge of the whole field. In fact, one of the major findings of the study is that conductors tend to lead more than one and more than one kind of chorus. A better understanding of the complex array of their roles and responsibilities ensures that Chorus America can continue developing meaningful services that strengthen the entire field. 2

3 Our hope is that the findings presented in this report will inform future deliberations and decision-making in these ways: To help choral conductors understand more about their profession and how their musical and professional work compare with others who share the same occupation. To guide chorus managers and board members who set policy for choruses by illustrating the different roles and combinations of responsibilities and benefits that choral leaders have. To inform music educators in conservatories, colleges, universities, and other settings to guide future conductors in their career planning. To provide data for other arts organizations, advocates, and researchers who need benchmarks for comparative studies of arts activities and arts leaders. Because the choral field is large and diverse, not every finding will resonate with every conductor or every chorus, and the data shared here does not constitute a recommendation on best practices from Chorus America. This is a report on what is, not on what should be. Knowing how other choruses and conductors operate is only one part of the ongoing challenge of making sound strategic decisions that are best for a particular organization. But we are confident that this report will contribute overall to Chorus America s goal of strengthening choruses and increasing appreciation of choral music, thereby adding to the impact that choruses already have in society. 3

4 SUMMARY OF KEY FINDINGS This study examines choral conductors as individuals, the choruses that they lead, and their working relationships with those choruses. The key findings are as follows. 1. Choral conductors tend to knit together a career by leading several choruses. The typical conductor leads two or three choruses, often of different types. Conductors meet with singers in each chorus an estimated 74 times over the course of a season, counting both rehearsals and performances. The 1,612 choruses led by survey respondents include more than 81,000 singers. 2. Choral conductors have high job satisfaction even in the face of career-related challenges. Conductors are generally very satisfied in their work. Those who stay with choral conducting tend to earn more and become more satisfied as they age. Their average annual combined incomes are in the mid-$50,000 range; those with doctorates and/or employed as full-time educators generally earn more. Average income for female conductors is about 74 percent of male conductors. Male conductors lead proportionally more community, school, volunteer, religious, and professional choruses. Female conductors lead more children s choruses. Many conductors lack health and retirement benefits; few choruses provide these employment benefits. Conductors perform a wide range of roles and responsibilities within their choruses. 3. The majority of choruses led by survey respondents were founded a generation or more ago, but one in three of those choruses is still led by its founder. On average, the choruses conducted by respondents were founded in the 1970s. Respondents have founded more than 200 choruses since the year One in three choruses is still conducted by its founding music director. 4. Education and training to be a choral conductor is quite varied; most conductors continue to hone their skills throughout their careers. Eighty-five percent of respondents believe their education prepared them well for their work. Conductors who are full-time educators are more likely to have specialized in choral conducting. Conductors who affiliate with Chorus America and other professional organizations tend to earn more and to be more satisfied. Conductors invest time and effort to maintain and improve their knowledge and skills on artistic and management topics. 4

5 5. Choral conductors share many characteristics with the singers in their choruses. The early choral singing experience of conductors parallels that of choral singers as a whole. Conductors are active in cultural life and are audience members for a variety of arts performances. Conductors are generous supporters of charity, giving an average of $3,900 to all causes, and $1,400 to arts and culture in Choral conductors make a life-long commitment to the choral field. Forty-seven percent of respondents set out to become conductors. Conductors of all ages intend to stay in the field; more than half of those between the ages of 50 and 65 intend to be conducting 10 years into the future. 5

6 REPORT ON KEY FINDINGS 1. Choral conductors tend to knit together a career by leading several choruses. The study confirmed that there are a wide variety of conducting assignments and settings in which choral conductors work. Most conductors lead multiple choruses, which often are quite different with respect to membership, size, or type. This tendency to hold multiple jobs has a large impact on the field, as it affects the number of performances, interactions with singers, income, and employment benefits conductors receive. The typical conductor leads two or three choruses Chances are that the conductor you see leading any given chorus is there in a part-time capacity. In total, the survey respondents conduct 1,612 choruses, and each conductor leads an average of 2.3 choruses. Only 25 percent of respondents lead one chorus. Figure 1 shows the proportion of conductors who conduct one, two, three, four, and even five choruses. Figure 1. Number of Conducting Positions Held five choruses 11% one chorus 25% four choruses 13% three choruses 21% two choruses 30% Conductors lead different types of choruses We asked conductors to describe the work they do with up to five different choruses. Although 40 percent of respondents conduct a school/university chorus, most of them also lead other types of choruses as well. A significant percentage (39 percent) are also full-time educators, but only 12 percent do all of their conducting within the school setting. More commonly, full-time educators also lead choruses of other types. (Note that these are educators at all levels, from elementary to post-secondary.) 6

7 Table 1. Chorus Types Led By Respondents Chorus Type Conducting Positions Held Percentage School/university-related % Volunteer religious % Volunteer or community % Independent children's 130 8% Professional 98 6% Total 1, % Frequency of rehearsals and performances We asked conductors how often their choruses rehearsed and performed during the 2004 season. Although most choruses rehearse once a week, 40 percent rehearse more often. Choruses rehearse on average about 1.5 times each week. Table 2. Chorus Rehearsal Frequency Frequency Number Percentage Less than once per week 73 5% Weekly % Twice weekly % More than twice weekly % Conductors also told us how many performances their choruses presented during the last season, a number that also includes education and outreach programs (see Figure 2). While more than three-quarters of choruses perform 12 or fewer times each year, 40 percent fall into the range of 4 to 6 performances. The number of performances is not affected much by chorus type, except that school-based choruses are likely to have fewer performances and volunteer religious choruses tend to perform more frequently. Across all chorus types, the average annual performance season is 13.6 concerts. If volunteer religious choruses and school-based choruses are excluded, the remaining choruses independent community, professional, and children s choruses perform on average 11.8 times annually. (Because the survey specified performances rather than programs, we don t know how many individual concert programs these represent.) 7

8 Figure 2. Chorus Performance Frequency, Including Education Outreach Performances 20% 16% Percent of All Performances 12% 8% 4% 0% 1 to 3 4 to 6 7 to to to 40 over 40 volunteer or community 4% 10% 5% 2% 0% 1% independent children's 2% 3% 2% 2% 0% 1% school/university-related 11% 20% 7% 3% 1% 0% volunteer religious 4% 8% 2% 2% 3% 8% professional 1% 2% 1% 1% 0% 1% Total 21% 40% 16% 9% 6% 9% Performances in Season We also asked about expected changes in the number of performances to see if conductors forecast that their seasons would grow or decline. Most conductors project that the number of performances will remain stable, but about one-third of them expect the number to increase and very few expect it to decrease. This is an indication of growth and vitality for the choral field. Conductors meet with each of their choruses an average of about 74 times each season (13.5 performances and 60.5 rehearsals). The ratio of rehearsals to performances is about 4.5 to 1. This tends to be lower for volunteer religious choruses and higher for other types. We asked conductors about the number of singers in each of the choruses they lead (see Figure 3). Of the 1,612 choruses led by survey respondents, the average number of singers in each is 51 and the total number of singers in all is more than 81,000. 8

9 Figure 3. Average Number of Singers in Choruses % % % more than 200 1% % % 2. Choral conductors have high job satisfaction even in the face of career-related challenges. Survey respondents provided us with a wide range of data on their income, job characteristics, and level of satisfaction in their work. The data indicate that while generally conductors are enormously satisfied with their careers, some have difficulty balancing the demands of multiple positions. And while the majority of female conductors express contentment with their compensation, the data indicate that women conductors are not compensated as well as men. Conductors are generally satisfied with their work and become more satisfied We asked conductors about their level of satisfaction in their work. Ninety-one percent strongly agreed with a statement about being satisfied with their work as choral conductors. As Figure 4 shows, satisfaction tends to grow to a peak between ages 50 to 65 and then declines slightly in the older age categories. As we see elsewhere in the arts, there is heavy attrition when people are in their early 30s younger choral conductors are less satisfied than those in their 50s and older. While there is no way to predict the path of any one career, it appears that those who stay with choral conducting tend to earn more and to be progressively more satisfied as they age. Conductor income The average annual income for all survey respondents is $54,400, with some differences depending on work setting and gender. Figure 4 shows that income and satisfaction are highly correlated. This is not true in every profession. Nonprofit workers often earn less than they might in other work settings, but are still satisfied. Similarly, there are high earners in many other professions who are personally dissatisfied with their work. 9

10 Figure 4. Conductor Income and Satisfaction 100% $60,000 95% $50,000 90% $40,000 Income $30,000 85% Satisfaction $20,000 80% $10,000 75% $ above All conductors 70% Income $34,100 $46,200 $55,000 $63,000 $52,300 $54,400 Percent satisified 81% 88% 89% 96% 94% 91% Age Income varies with level of education and workplace setting In general, conductors are content with their compensation: 24 percent strongly agreed and 41 percent moderately agreed with the statement, I am fairly compensated for my work as a choral conductor. A variety of factors influence a conductor s income, including age, gender, level of education, and workplace setting. Because such a high number of the survey respondents are also educators, their employment by educational institutions affects the average income figure for all conductors. While the average annual income for all respondents is $54,400, it is $48,500 for the 61 percent of respondents who are not full-time educators. Notably, half of all respondents have a master s degree and a quarter hold doctorates. Table 3 summarizes some of the differences for all educators, and Table 4 segments those in higher education. Table 3. Average Annual Income of Conductors In All Education Settings Full-time Not full-time Holds doctorate $69,900 $59,200 Does not hold doctorate $60,000 $46,000 Table 4. Average Annual Income of Conductors In Post-Secondary Education Full-time Not full-time Holds doctorate $66,000 $70,900 Does not hold doctorate $68,300 $43,000 10

11 Not surprisingly, most respondents with either a doctorate or a full-time teaching position earn above the average for all conductors. Interestingly, the doctorate does not ensure a higher salary in every case (compare post-secondary educators income with and without a doctorate), and neither does being a full-time professor. We anticipated that full-time professors with doctorates would be the highest earners, but found that a few part-time educators with doctorates earn comparatively more. However, only 16 respondents fit these characteristics and their income likely derives from other musical activities besides adjunct work. Female conductors have different compensation and workload than male conductors While education and workplace account for some of the differences in compensation, gender is also a factor. Approximately 39 percent of all survey respondents were women. In general, they are of about the same age as male respondents and overall are just as satisfied. However, as Table 5 shows, they receive lower compensation regardless of whether they have attained a doctorate and regardless of their workplace yet they report a slightly higher workload than do male conductors. This is similar to the wage gap between men and women in the broader population in that female conductors average annual income is about 74 percent of male conductors income, whether expressed in total income or in the imputed wage rate. Female conductors also conduct 3 percent more choruses a small difference, but one that may be more meaningful in the context of lower income. Table 5. Gender Differences Among Choral Conductors Female Male Percent of respondents 39.2% 60.8% Average age Income (all respondents) $45,000 $60,500 With doctorate $53,300 $66,500 Without doctorate $43,500 $58,100 Percent satisfied 90% 92% Full-time educators $55,400 $67,800 Not full-time educators $38,900 $55,600 Choruses conducted Calculated wage $23.49 $31.78 Men and women tend to lead different kinds of choruses Men and women tend to be associated with different kinds of choruses. Figure 5 shows the percentage of leaders who are men and the percentage of male and female conductors for each chorus type, scaled on the left-hand axis; the right-hand axis shows the actual number of choruses. One reason that women earn less income may be that they are more likely to lead children s choruses, many of which were founded more recently and may have fewer financial resources at this stage in their development. 11

12 Figure 5. Leadership of Different Chorus Types By Gender 90% % 81% % 71% 71% % 60% 58% 56% % 40% 42% 38% 44% Male Female No. of Choruses 30% 29% 29% % % % % volunteer or community independent children's school/universityrelated volunteer religious professional Total 0 Chorus Type Many conductors lack health and retirement benefits It is clear that building a career out of multiple jobs makes healthcare and retirement planning a challenge for many conductors. Nearly 41 percent reported receiving no employment benefits. School/university and volunteer religious choruses offer the most generous benefits packages, while community and children s choruses offer the least. This, along with higher salary, probably contributes to the overall satisfaction level reported by conductors in educational settings. Few choruses provide full or partial health benefits or pension support, but more support conductor training. The lack of benefits is a matter for concern; most conductors, like many part-time arts workers, may be at risk because they lack health and retirement protection. Table 6. Benefits Offered by Chorus Type Full health insurance Partial heath insurance Training or tuition funds None Paid vacation Pension contributions Volunteer or community 73% 12% 8% 2% 9% 21% Independent children's 57% 20% 8% 16% 13% 36% School/university 22% 39% 55% 20% 57% 36% Volunteer religious 35% 54% 33% 8% 40% 48% Professional 49% 31% 20% 8% 23% 26% All choruses 41% 35% 33% 12% 37% 35% 12

13 Conductors perform a wide range of roles and responsibilities with their choruses We asked conductors about their various responsibilities and if their choruses have paid management. Overall, 27 percent of respondents have access to some paid managerial support. Of the independent choruses that are more typical of Chorus America s membership, between 60 and 70 percent have paid managers. In institutional settings, such as schools and churches, conductors generally do not have paid managerial help (only 13 and 14 percent, respectively). Because these chorus types comprise 63 percent of all the choruses described by survey respondents, the overall percentage is lower. Table 7. Choruses with Paid Administrators Chorus type Percentage School/university-related 13% Volunteer religious 14% Volunteer or community 60% Independent children's 69% Professional 67% Total 27% Conductors perform many other roles besides conducting and providing artistic leadership. Many of them are involved with other important and substantial aspects of managing a choral organization, including management functions, public relations, and fundraising. The findings did not vary significantly between types of choruses. Table 8. Range of Responsibilities Responsibility is Responsibilities mainly mine Repertoire and programming 89% Commissioning music 70% Chorus administration (attendance, seating charts, etc.) 64% Venue arrangements 57% Management/governance of the organization 54% Recording 52% Marketing/publicity/promotion 38% Fundraising/resource development 33% Donor cultivation 32% Rehearsal accompanist 26% 13

14 3. The majority of choruses led by survey respondents were founded a generation or more ago, but one in three of those choruses is still led by its founder. Recent data on chorus founding dates and the evolution of chorus types in recent years suggests that the choral field is experiencing a significant period of leadership transition with its established choruses, even while new choruses continue to form at a fast pace. Choruses are resilient, and many conductors are founders with long tenures We asked conductors about chorus founding dates, whether they were the founders, and how long they had been leading their choruses. The average tenure of survey respondents is 11 years, but conductors of volunteer and children s choruses have held their positions for an average of 16 years. Although the average chorus founding date is 1972, the median founding date is 1982 (a few choruses were established much earlier, skewing the average). Nearly 81 percent of respondents choruses were founded in the 1960s, 70s, and 80s, mirroring the awakening of community arts that occurred in those decades. This puts a great number of choruses near the quarter-century mark or older. Volunteer religious choirs conducted by respondents have the earliest average founding dates (1962) and independent children s choruses are the most recent arrivals (1994 average founding date). In addition to having a core of well-established organizations, the choral field also shows significant new growth. Survey respondents report that they have founded more than 200 choruses since 2000, a sign of considerable vitality. Figure 6. Conductor Tenure and Chorus Founding Dates 50% 17 45% 15 Choruses Led By Founders 40% 35% 30% Years as Leader 25% 7 20% volunteer or community independent children's school/universityrelated Founding Conductors 40% 45% 32% 28% 43% 34% Average Founding Date Years as Leader Median Founding Date Chorus Type volunteer religious professional All 5 14

15 At the other end of the leadership dynamic is succession. One in three choruses is still being conducted by its founding music director. Leadership transitions are part of the life cycle of any nonprofit organization, but are especially significant in choruses where conductors often play a greater role in defining the mission and serving the community. 4. Choral conductor education and training is quite varied, and most conductors continue to hone their skills throughout their careers. We asked conductors to describe their early training, their highest earned academic degree, and their continuing education activities. Their responses show that choral leaders are highly educated and many have made life-long investments in their craft. Early education and specialization In general, early education continues to pay dividends as a conductor s career evolves: 55 percent strongly agreed and 30 percent moderately agreed with the statement, My education prepared me well for my work as a choral conductor. Choral conducting requires a wide range of musical skills, and a conductor s education reflects rigorous preparation for this career. We asked conductors about specialization in their highest earned degree. More than one-third of respondents specialized in choral conducting, 22 percent focused on music education, and 15 percent specialized in voice. Six percent or fewer specialized in instrumental conducting, composition, liturgical music, music history, musicology, piano, organ, and other instruments (respondents could check more than one selection). Table 9 shows that conductors who are full-time educators are more likely to have specialized in either choral conducting or voice, when compared with those who are not full-time educators. Table 9. Percentages of Educators with Different Specializations Full-time educator Not full-time educator Choral conducting 67% 51% Music education 38% 37% Voice 29% 22% Conductors who affiliate with professional organizations earn more and are more satisfied Part of continuing education and training involves contact with professional colleagues and participating in the development of the choral field itself. We asked conductors if they were members of Chorus America and also of some other organizations that serve musicians, musical leaders, and music educators. The three most frequent responses were American Choral Directors Association (86 percent of respondents were members), Chorus America (49 percent), and Music Educators National Conference (41 percent). We then compared their professional affiliations with their income and satisfaction levels; the results are shown in the Figure 7. While the findings can be seen as an affirmation of the value of Chorus America membership, we do not assert a causal relationship because it is not clear if such membership leads to higher income, or if higher income conductors are more likely to join Chorus America. 15

16 Figure 7. Professional Affiliation, Satisfaction, and Income $70, $60, $50, Income $40,000 $30, Percent Satisfied $20, $10, $0 Not CA, ACDA, or MENC member Not CA member CA, ACDA, or MENC member CA member All conductors 78 Income Percent satisified Post-graduate education and training We asked a number of questions about post-graduate education to determine how conductors continue to improve their knowledge and skills (see Tables 10 and 11). In addition to artistic topics, conductors are also learning about nonprofit management, governance, and board development. Tuition and training funds are offered by about one-third of choruses led by respondents and by one-sixth of those outside of educational and religious institutions. Table 10. Post-Graduate Education and Training Type of post-graduate program Percentage Workshops 94% Clinics 78% Master classes 72% Private study 60% 16

17 Table 11. Days of Post-Graduate Study Per Year Topic All Full-time educators With doctorate Music/artistic topics Administration/management Governance/Board development Other Total Conductors share many characteristics with the singers in their choruses Findings from Chorus America s 2003 report, America s Performing Art: A Study of Choruses, Choral Singers, and Their Impact, show that choral singers are highly social, generous with their contributions, and engaged in their communities. The data from this study show that conductors share many of the same attributes and activities as the choristers they lead. Conductors involvement in choral singing begins early and is continuous Conductors begin singing in choruses early in life. About half of survey respondents sang in elementary and/or middle school, 79 percent sang in high school, and 89 percent sang in college. Only 2 percent of respondents had not sung in choruses before leaving college. This parallels the life experience of choral singers as a whole, who generally are exposed to choral singing at an early age. America s Performing Art reports that 69 percent had their first choral singing experience in elementary or middle school and 87 percent of choral singers sang in choruses before leaving college. Figure 8. Conductors' Early Experience in Choral Singing Community, 38% Elementary school, 49% Middle school, 52% Church/worship community, 77% High school, 79% College, 89% 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% 17

18 The similarities extend to other areas, too. Like choral singers, conductors are active participants in cultural life; most regularly attend orchestra, theater, opera, and other choral performances. Conductors support their choruses, the arts in general, and other charitable causes We asked conductors about their charitable contributions in 2004, looking at all charitable causes they might support, and specifically at arts and culture. Conductors are generous supporters of charity, giving an average of $3,900 to all causes and $1,400 to arts and culture in They also support their own choruses, with 86 percent of respondents donating an average of 7 percent of their income; the median is 2 percent of income. A smaller number (4 percent) give back 100 percent of their compensation. This is also consistent with findings from America s Performing Art, which found that choristers are generous contributors to charities in general, including arts organizations in particular, and that two-thirds of singers contribute to their own choruses. Figure 9. Conductor Support of Charities and the Arts, 2004 $9,000 $8,000 $7,000 $6,000 $5,000 $4,000 $3,000 $2,000 $1,000 $0 0-$9,999 $10,000- $29,999 $30,000- $49,999 $50,000- $69,999 $70,000- $99,999 $100,000-above All conductors U.S. population Income Range All charitable giving Charitable giving to the arts 18

19 6. Choral conductors make a life-long commitment to the choral field. Over half of the survey respondents 56 percent have been conducting for more than 20 years, although for many, especially those in upper age ranges, it was not their original career choice. Choral conducting was not the original career choice for most conductors Overall, 47 percent of respondents set out to be conductors with an emphasis in choral music. Table 12 shows the percent of conductors in different age groups who originally intended to be choral conductors. Table 12. Original Career Intent by Age Range Percent originally intending to be Age choral conductors % % % % 66-above 38% In previous decades, aspiring choral conductors may not have been as likely to plan on this as a career. Today, it is much more probable that a conductor will have choral conducting specifically in his or her career sights. We cannot balance this with information from conductors no longer in the field because they were not included in the survey sample. Intent to remain in the field To get a sense of where the field of choral conducting is heading, we asked conductors if they intended to remain in the field for 5 years and also for 10 years into the future. Two-thirds of conductors of all ages were almost certain that they would be conductors in 5 years, and 46 percent in 10 years. Figure 11 shows how those intentions vary by age. Conductors of all ages largely intend to stay in the field; conductors solidify their career plans once they get through their 30s. Even for those conductors between ages 50 and 65, more than half intend to be conducting 10 years into the future. 19

20 Figure 10. Future Intent To Conduct By Age Group 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% above Age Group Intends to be conductor in 5 years Intends to be conductor in 10 years 20

21 POSITIVE SIGNS AND CHALLENGES AHEAD FOR THE CHORAL FIELD There are a number of findings that indicate that the choral field is strong and growing stronger: Conductors expect the number of their choruses performances to stay steady and, in about one-third of cases, to grow. Choruses are led by highly trained and motivated conductors, many of whom are actively improving their skills. Many choral conductors are entrepreneurs, given that one-third of them are leading choruses that they founded. Overall, choral conductors are very satisfied, and generally, they want to stay in the field. Conductors literally put their money where their mouth is, as generous contributors to charity, the arts, and their own choruses. The same data set gives rise to some concerns: It is evident that choral conductors struggle for health coverage and retirement benefits. There is a clear gender gap, which deserves attention even if it is not unique to choral music. Because one chorus in three is led by its founder and many of them have had lengthy tenures, the choral field faces significant leadership transitions in coming years. ABOUT THE RESPONDENTS AND METHODOLOGY The 684 conductors who responded to the survey have the following characteristics as a group: The majority of respondents are male (62 percent); the average male respondent is 48 years old, and the average female respondent is 49 years old. Total income averages $54,400 per year; 24 percent have total incomes of more than $70,000. Respondents primarily reside in the U.S. (more than 90 percent use U.S. zip codes). Within the U.S., proportionally fewer are from the South as compared with the population as a whole. Only 5 percent were African-American, Hispanic, or Asian/Pacific, less than the proportion of minorities in the U.S. population; we don t know how accurately these percentages reflect the population of choral conductors. Minority respondents were younger (42 years old) and earned nearly the same average income ($54,300). The median time it took for respondents to complete the survey was 14 minutes. The data for this report came from a survey conducted over the Internet for five weeks in January and February The survey was designed by Roland Kushner and Arthur Brooks, with guidance from the Chorus America staff and a Board subcommittee on conductors. Chorus 21

22 America announced the availability of the survey in multiple ways, including mailing 15,000 letters to its members and members of other choral organizations, forwarding notices to related organizations for publication in their newsletters, and postings on various Internet websites and listservs. The survey was accessible via a link prominently placed at the top of Chorus America s website home page at The effort to drive traffic to that site continued for the entire time that the survey was accessible. The data were analyzed and this report prepared between February and April The research team believes that the final sample size of 684 is adequate for making generalizations to the population. No extant data source says how many choral conductors there are, as they are combined in the federal labor statistics with various other musicians. In America s Performing Art: A Study of Choruses, Choral Singers, and Their Impact, Chorus America estimated that there are 250,000 choruses, which suggests at most 250,000 conductors. Our finding that the average conductor leads 2.3 choruses implies that there are slightly more than 100,000 conductors in the population and that this survey reached almost 0.7 percent of them, a healthy sample. This survey is subject to the same biases as any other survey: People choose whether to respond or not. A compounding factor is that this is an Internet survey, which injects technical factors into its execution. The most likely sources of bias from this requirement would relate to age and location. The use of Internet technologies might be a barrier to some potential respondents, in particular older conductors and those in rural communities with limited Internet access. In comparing our sample with figures from the 2000 U.S. Census, 5.7 percent were over age 65 compared with 9.6 percent of the general population. However, 39.4 percent of the sample was between 50 and 64, compared with 14.8 percent of the general population, so we can conclude that older conductors were able to access the survey. Similarly, 21 percent of the U.S. population is rural, compared with 18.7 percent of our sample, a difference that is not statistically significant. To increase participation, we presented questions about age and income in ranges (e.g., below 30, 30 39, etc.). To make these values easier to work with, we used the midpoints of various ranges. For example, we converted the age range to the midpoint of We used this procedure to come up with average figures for age, income, and similarly scaled variables. We have not included the specific number of choruses or conductors responding to every question. Total responses to questions involving individual conductors ranged from 630 to 662, and involving choruses ranged from 1,532 to 1,607. REFERENCES To provide a context for this report, we drew from other published research work on labor markets for artists, from the fields of human resources management and labor economics, and from data sources with current research on the population. Alper, Neil, G. Wassall, J. Jeffri, R. Greenblatt R, and A. Kay (1996). Artists in the Work Force: Employment and Earnings National Endowment for the Arts, Santa Anna, CA: Seven Locks Press. 22

23 Alper, Neil O., and Gregory H. Wassall (2000). More than Once in a Blue Moon: Multiple Jobholdings by American Artists. National Endowment for the Arts, Santa Anna, CA: Seven Locks Press. American FactFinder section of the U.S. Census Bureau website at Bureau of Labor Statistics website at Chorus America (2003). America s Performing Art: A Study of Choruses, Choral Singers, and Their Impact. Washington, DC: Chorus America. McCarthy, Kevin, Arthur Brooks, Julia Lowell, and Laura Zakaras (2001). The Performing Arts in a New Era. Santa Monica, CA: The RAND Corporation. Center on Philandthropy Panel Study (COPPS) (2003). In the Panel Study of Income Dynamics Wave XXXIII Computer File. Ann Arbor, MI: ICPSR ( ACKNOWLEDGEMENTS Chorus America is deeply grateful to the following organizations whose generosity made this project possible. The William and Flora Hewlett Foundation The National Endowment for the Arts CHORUS AMERICA PROJECT STAFF AND BOARD OF DIRECTORS Ann Meier Baker, President and CEO Richard Tappen, Director of Programs Jack Reiffer, Director of Meeting and Projects Robin Perry Allen, Director of Communications Chairman Duain Wolfe, Music Director, Chicago Symphony Chorus; Colorado Symphony Chorus Vice Chairman Jay Baylin, Board Member and Former Chair, Music of the Baroque Chairman-Elect Todd Estabrook, Board Member and First Vice President, Handel and Haydn Society Treasurer Michael McCarthy, Treasurer and Board Member, VocalEssence Secretary Dianne Peterson, Executive Director, The Washington Chorus 23

24 Members of the Board Carole C. Birkhead, Board Member, Louisville Orchestra Charles Bruffy, Artistic Director, Kansas City Chorale (MO) and Phoenix Bach Choir (AZ) Philip Brunelle, Founder and Artist Director, VocalEssence Robert Cooper, Executive Producer, CBC Radio Music Hugh Davies, Managing Director, ACFEA Tour Consultants Mary Deissler, Executive Director, Handel and Hadyn Society Bob Dingley, Vice President of Education, Warner Brothers Publications Todd Estabrook, Board Member, Handel and Haydn Society Cortlandt B. Fengler, Fundraising and Management Consultant, San Francisco, CA Linda Goldstein, President and CEO, Original Artists Walter Gould*, Founder, Lawson-Gould Publishers Jim Grigsby, Past President and CEO, Berkshire Choral Festival Robert A. Harris, Director of Choral Organizations, Northwestern University School of Music David M. Hayes, Music Director, The Philadelphia Singers Anne Heider, Artistic Director, Bella Voce Elfrieda Heinrichs, Founder-Director, The Heinrichs Foundation Janice M. Johnson, Board Member, Pacific Chorale Susan Knight, Founder and Conductor, Newfoundland Symphony Youth Choir Donald McCullough, Music Director, Master Chorale of Washington Trudy Weaver Miller, President, Berkshire Choral Festival Alice Parker, Artistic Director, Melodius Accord Earl Rivers, Music Director, Vocal Arts Ensemble of Cincinnati Stephen Sacks, Senior Partner, Arnold & Porter, Washington, D.C. H. Royce Saltzman, Executive Director, Oregon Bach Festival Janet Sarbaugh, Program Director of the Arts & Culture Program, The Heinz Endowment Robert Simpson, Founder and Artistic Director, Houston Chamber Choir Gregg Smith*, Founder and Conductor, The Gregg Smith Singers Frank Stubbs, Executive Director, Lutheran Music Program & Lutheran Summer Music Academy and Festival Barbara Tagg, Founder and Artistic Director, Syracuse Children's Chorus Thomas C. Vicary, Immediate Past President, Erie Philharmonic Orchestra and Chorus * Founding Member, Chorus America Board of Directors THE RESEARCH TEAM Principle investigator Roland J. Kushner is director of Kushner Management Advisory Services in Bethlehem, Pennsylvania, which helps business and nonprofit organizations with strategic management, organizational development, business planning, and economic analysis. Dr. Kushner is adjunct professor in history at Lehigh University, management at Moravian College, and arts management at Drexel University. His research on nonprofit management and cultural economics is published in Journal of Higher Education, Journal of Cultural Economics, International Journal of Arts Management, Journal of Arts Management, Law, & Society, and Nonprofit Management & Leadership, among others. Dr. Kushner was managing director of Bethlehem Musikfest, a major regional performing arts festival, and development director for the Bach Choir of Bethlehem. 24

25 Research associate Arthur C. Brooks is associate professor of public administration and director of the Nonprofit Studies Program at Syracuse University s Maxwell School of Public Affairs. Over the past seven years, he has published more than 75 articles and books on charity, civil society, and the economics of the arts. His work on these subjects has appeared in The Public Interest, Policy Review, The Wall Street Journal, and The Chronicle of Philanthropy. His latest book, Charity and Selfishness: The Truth About Who Gives in America and the World, will be published in 2006 by Basic Books. Preceding his work in public policy and economics, Dr. Brooks spent 12 years as a professional French horn player, holding positions with the Barcelona Symphony and the Annapolis Brass Quintet. ABOUT CHORUS AMERICA Chorus America's mission is to strengthen choruses and increase appreciation of choral music so that more people are enriched by its beauty and power. Chorus America serves the spectrum of professional, volunteer, children/youth, and symphony/opera choruses. To accomplish its mission, Chorus America provides information, publications, conferences, consulting, training programs, surveys, networking, and awards to support choruses in North America. Since its founding in 1977, hundreds of choruses have benefited from Chorus America's services and networking clout to boost their own effectiveness. Chorus America is best known for its unparalleled ability to enhance the organizational strength of independent choruses through services that address infrastructure, management, and board development issues. No other organization currently offers the array of programs that support the public presentation of choral music. In addition, Chorus America's conducting programs have a reputation for providing artistic directors with skills, tools, and advice that help them in their day-to-day efforts to present first-rate and appealing concerts. More than 1,600 members belong to Chorus America, including choruses, individuals, arts organizations, and businesses. This influential group of conductors, arts administrators, board members, volunteers, singers, arts and music business executives, composers, and choral music advocates are at the core of a dramatically expanding choral movement in North America. Chorus America is located in Washington, D.C. and governed by a board of directors (listed above). CHORUS AMERICA TH STREET N.W., SUITE 310 WASHINGTON, D.C FAX 25