Monday from Music: demographic questions we asked on survey and constructed groups

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1 Monday from Music: demographic questions we asked on survey and constructed groups October 2014 Future of Music Coalition conducted the Money from Music survey from September 6- October 28, It was completed by 5,371 US-based musicians and composers. The entire question set is available as a PDF online. This document outlines the demographic questions we asked respondents that helped us to understand their characteristics, and the groups that we constructed based on respondents answers. Researchers asking the same demographic questions worded for your population will make it easier for us to compare our data sets/populations. 1. Age: year born 2. Citizenship 3. Career length: About how many years have you been a musician, performer or composer? None More than 40 years 4. Hours per week: About how many hours a week do you currently spend performing, working on music and/or compositions, or developing your musical career? None

This document outlines the demographic questions we asked respondents that helped us to understand their characteristics, and the groups that we constructed based on respondents answers.

2 More than 60 hours/week 5. Personal gross income: What s your personal annual income: This is your gross income before taxes and should include income from all sources. Less than $20,000 $20,000 to $39,999 $40,000 to $59,999 $60,000 to $79,999 $80,000 to $99,999 $100,000 to $119,999 $120,000 to $139,999 $140,000 to $159,999 $160,000 to $179,999 $180,000 to $199,999 $200,000 or more 6. Percent of income from music: About what percent of your current personal annual income do you derive from being a musician, composer, performer or teacher? Percent range from 0% to 100% 7. PRO membership: Are you a member of any of these performance rights organizations? List of performance rights societies 8. Organizational membership: Are you a member of any of these organizations? List of any relevant organizations, unions, trade associations 9. Genres: which genres do you work in? Respondents could pick a primary, secondary and tertiary genre from three drop down lists. 10. Money genre: which genre currently generates the most money for you? 2

Less than $20,000 $20,000 to $39,999 $40,000 to $59,999 $60,000 to $79,999 $80,000 to $99,999 $100,000 to $119,999 $120,000 to $139,999 $140,000 to $159,999 $160,000 to $179,999 $180,000 to $199,999

3 Same drop down list of genres. 11. Teammates: who, besides yourself, is part of your artistic team? List included about 20 different team member options. 12. Roles. What roles do you play as a musician? Respondents were allowed to check any that applied Composer Lyricist Recording artist Performer Salaried orchestra player Session musician/singer/freelancers Teacher Organizer/administrator 13. Musical credits in past 12 months: range from 0 to more than 20. Number of composing credits in past 12 months Number of recording credits in past 12 months Number of session musician credits in past 12 months Number of live performances/shows played in past 12 months Range of 0 to more than Musical credits in career: range from 0 to more than 100. Number of composing credits in career Number of recording credits in career Number of session musician credits in career 15. Gender 16. Race/Ethnicity 17. Education level: from some high school to completed graduate work/phd 18. Music school: did you go to a music or performance-based college/university, or a conservatory? Yes/no 19. Music degree: Did you earn a degree in music? Yes/no 20. Geo location: What is your five digit zipcode? 3

Respondents were allowed to check any that applied Composer Lyricist Recording artist Performer Salaried orchestra player Session musician/singer/freelancers Teacher Organizer/administrator 13.

4 Money from Music: constructed groups of survey respondents by characteristics October 2014 Future of Music Coalition conducted the Money from Music survey from September 6- October 28, It was completed by 5,371 US-based musicians and composers. During the survey, we collected a lot of demographic or descriptive data about the survey respondents. This gave us the ability to construct groups of survey respondents based on shared characteristics. The table below shows the constructed groups that we have used frequently in data analysis, and the criteria that define each group. Group name Definition or criteria of group Count All respondents All those who completed the survey past Q By role: respondents were allowed to pick as many roles as applicable Composer Composes original music or lyrics 2372 Recording artist Records music 1973 Performer Performs music in a live setting, usually for a guarantee or percent of door Salaried orchestra player Performs music and is paid a regular wage 2410 Session musician Teacher By genre Hired to perform music in the studio or in a live setting. Paid a set fee Teaches individual students or in a class setting Classical Primary genre: classical 1863 Jazz Primary genre: jazz 872 Rock/Alt rock Country/Americana Primary genre: rock, alternative rock, punk, indie or metal Primary genre: country, Americana or bluegrass Rap/Hip hop Primary genre: rap, hip hop or R&B

This gave us the ability to construct groups of survey respondents based on shared characteristics.

5 We asked about other genres and could analyze Pop Primary genre: pop 242 Singer-songwriter Primary genre: singer-songwriter or folk 312 Composer Primary genre: composer 229 By experience Early career Less than 15 years experience 1388 Mid-career 15 to 30 years experience 1678 Established career More than 30 years experience 2305 By music education Attended music school Went to music school or conservatory 2728 Did not attend music school By full time status Full time Did not go to music school or conservatory hours a week or more on music and earning 75% or more of their income from music 1736 Not full time Everyone else 3635 By seasoning Emerging Established Old school By income strata Low income Middle income High income Full time respondents (see above) who have ten or fewer years of experience Full time respondents (see above) who have between 11 and 30 years experience Full time respondents (see above) who have 30 years or more experience Gross income of less than $40,000 and earning 90% or more of their income from music Gross income between $40,000 and $100,000 and earning 90% or more of their income from music Gross income of $100,000 or more and earning 90% or more of their income from music

conservatory 2728 Did not attend music school By full time status Full time Did not go to music school or conservatory 1950 36 hours a week or more on music and earning 75% or more of their income

6 Other possibilities based on collected data collected during Money from Music survey: By PRO membership By music organization or union membership By frequency of radio airplay By number of composing, recording or session credits in lifetime By number of live performances in past year By certain types of teammates (manager, record label) By whether they have a record label deal By comfort with using music-related technology to record, promote or distribute their music Other groups that researchers might find useful, but that we did not construct for ARS work: Commercial versus non-commercial: should this be based on number of composing and/or sound recording credits? Or on participation in various platforms? Something about the size of venue they play in? Creative versus service: should this be a measure of those respondents who have some copyrights either composition or sound recordings versus those that play repertoire, or teach, or do session work? Groups that we did not construct but may make sense in other regions: Recipients of government funds Researchers asking the same or similar questions of musicians will make it possible for us to compare data sets in the future. Feel free to contact us if you have any questions. Kristin Thomson kristin@futureofmusic.org Jean Cook jean@futureofmusic.org 6

using music-related technology to record, promote or distribute their music Other groups that researchers might find useful, but that we did not construct for ARS work: Commercial versus

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