Results of the Musicians Well-being Survey

Transcription

1 Results of the Musicians Well-being Survey Creative realities for music professionals in Australia MARCH, 2015 Queensland, Australia Dr Stacey Parker School of Psychology, The University of Queensland, St Lucia, QLD 4072 t: +61 (7) f: +61 (7) e:

2 Contents Executive Summary vi Part I: Introduction 1. Introduction Overview of the Research Aim of the Research 2 2. Research Context Background Relevant Literature Guiding Research Framework 4 3. The Musicians Well-Being Survey Sample Survey Design Key Constructs and Measurement 5 Part II: Study Findings 4. Employment Profile Music Work Status Music Work Yearly Income Music Work Weekly Hours Supplementary Work Status Supplementary Work Yearly Income Supplementary Work Weekly Hours Combined Work Hours and Income Prevalence of Psychosocial Factors Prevalence of Job Demands and Job Resources Use of Coping Strategies Prevalence of Work and Life Outcomes World Health Organisation AUDIT Assessment The Job Demands-Resources Model Main Effects Moderating Effects 16 Part III: Interpretations & Recommendations 7. Interpretations Musicians Employment Profile Prevalence of Psychosocial Factors Predictive Utility of Job Demands-Resources Model for Musicians Well-being Emergent Findings Conclusions 21 ii

3 8. Recommendations Support Network / Organisations Apprenticeship / Mentor Programs Direct Funding for Individual Artists Next Steps Further Reading 25 Appendices A. Appendix A Demographic Characteristics 27 A.1 Data Preparation 27 A.2 Ages and Gender 27 A.3 Location 27 A.4 Education and Qualifications 28 B. Appendix B Musician Characteristics 29 B.1 Main Instrument 29 B.2 Secondary Instrument 29 B.3 Genre 30 B.4 Musical Achievements 30 C. Appendix C Survey Descriptive Data 31 D. Appendix D Moderation Graphs 32 Acknowledgements and Contributions This research received no financial support from any funding body or organisation. I greatly appreciate the efforts of several music organisations for distributing the Musicians Well-being Survey through their networks, including: the Australasian Performing Right Association (APRA), Music Council of Australia (MCA), The University of Queensland s (UQ) School of Music, Griffith University s Queensland Conservatorium, Queensland University of Technology s Creative Industries Department, Brispop, and QMusic. Thank you to Professor Nerina Jimmieson (School of Management, Queensland University of Technology) who helped with the design of the Musicians Well-being Survey and provided feedback on this report. Thank you also to Dr Kirsten Way (Workplace Health and Safety Queensland) for feedback on this report. Finally, several volunteer research experience students have contributed to the data cleaning and analysis, as well as preparation of this report, including: Philip Slade, Alexander Fisher, and Aislinn Sharp. Thank you to these hard-working UQ Psychology students! iii

4 Executive Summary A thriving creative industry is key in stimulating healthy economic, social, and cultural outcomes in any modern society. Indeed, a recent Ernst & Young report estimates live music is worth $1.2 Billion to the Australian economy. However, whilst government-funding bodies invest heavily into creative industry companies, little support seems to be directed toward the individual artists. This is concerning as Australian Bureau of Statistics (ABS) data indicates arts professionals have below average earnings. Unfortunately, very little research has been conducted into the consequences of work stress (also called psychosocial injury) for music professionals. As such, the present study investigated the psychosocial factors associated with musicians work and the impact of this job stress on a range of well-being outcomes; including life satisfaction, psychological distress, burnout, and intentions to leave the industry. This analysis highlights the potential problems and possible interventions that could have a broad impact for the music industry. Our Musicians Well-being Survey, of N = 204 professional musicians, revealed information on the employment profile of music professionals working in Australia, the prevalence of work-related psychosocial factors (i.e., job demands and job resources), coping strategy use, and well-being indicators, as well as providing a test of the predictive utility of the Job Demands-Resources Model in explaining musicians work stress. Musicians Employment Profile It was revealed that: Approximately 91% of the musicians had some kind of precarious work situation for their professional music work (e.g., self-employed, causal, temporary contract), and 87% supplemented this work with an additional job (e.g., teaching, retail, other creative work). On average, musicians earned total income of $776 per week, which is $219 less than the average weekly income of arts professionals, and $547 less than the average weekly Australian wage, according to ABS data. Approximately 45% were earning below the minimum wage. Despite this, approximately 58% were working more than the recommended maximum of 48 hours per week. Prevalence of Psychosocial Factors It was found that: The job demands faced by musicians are high, 44% reported high to very high levels of workload, 11% high to very high levels of interpersonal conflict, and for 27% high to very high levels of job insecurity and career uncertainty. Promisingly, job resources were reported as high, with high to very high levels of access to job autonomy reported by 82% of our sample, while 60% reported having high to very high levels of access to social support from co-workers. In response to work stressors, musicians reported more commonly using coping strategies like positive reappraisal coping (53% high to very high levels) and problem-focused coping (45% high to very high levels), as compared to seeking support coping (20% high to very high levels). Favourably, 56% reported high to very high levels of general life satisfaction. However, 8% reported experiencing high to very high levels of psychological distress (i.e., feelings of anxiety and depression) during the last 30 days. In addition, 4% reported high levels of burnout from their work, and 10% reported high to very high intentions to leave the industry. Our results also revealed that approximately 62% of musicians drinking behaviours are at harmful levels based on the World Health Organisation s AUDIT assessment. iv

5 Predictive Utility of Job Demands-Resources Model for Musicians Well-being Drawing on the framework of the Job Demand-Resource Model, our results further revealed: After controlling for musicians age, gender, education level, as well as general levels of anxiety and depression, above other job demands investigated, job insecurity and career uncertainty poses the largest threat to musicians life and work outcomes, as it was associated with lower life satisfaction, and higher psychological distress, burnout, and intentions to leave the industry. Workload was also associated with higher psychological distress and burnout, and interpersonal conflict was associated with higher psychological distress. Despite the high prevalence of job resources like job autonomy and social support, which are typically considered effective job resources for combating job stress, our findings show that these resources were impotent, with very limited stress-buffering effects. Overall, it was found that having access to social support from co-workers reduced psychological distress and burnout, but no other main or moderating effects were revealed. Musicians own coping strategies were particularly important for alleviating the negative consequences of job demands. The moderation analyses revealed that seeking support was a particularly useful coping mechanism, which mitigated the negative effects of both workload and interpersonal conflict. Unfortunately, the prevalence data suggests that this coping strategy is being used by a minority of music professionals, despite its effectiveness in alleviating job stress. It was also found that problem-focused coping and positive reappraisal were useful coping strategies for dealing with workload and interpersonal conflict. Unfortunately, none of the job resources or coping strategies investigated helped to alleviate the negative consequences of job insecurity and career uncertainty. Overall, these findings highlight that music work can be high-stress and lowreward, and that this imbalance has negative repercussions for musicians well-being. Given these findings, this report outlines three key recommendations: 1. Support / Network Organisations. Conduct research into musicians access to (and use of) current organisational supports / resources and explore the possibility of establishing a new support network / organisation that could assist musicians with workplace issues, mental health and social services, and career advice. It is further recommended that the curriculum of current arts training institutions include coping skills training for artists, and relevant survival skills appropriate to the ever evolving nature of the arts industry. 2. Apprenticeship / Mentor programs. Similar to those found in other industries, where mid and late career professionals are given support to employ younger or less experienced workers. This initiative has the duel impact of giving much needed social support and workload relief to mature artists, and providing mentorship for young artists, possibly mitigating the negative consequences of job insecurity and career uncertainty, workload, and interpersonal conflict for all parties. 3. Direct Funding for individual Artists. Shift away from the traditional organisational and project-based funding models and toward providing more direct financial support to individual artists. Funding individual artists could directly alleviate the financial pressures associated with precarious employment arrangements (and potentially reduce job insecurity and career uncertainty). With artist s health and well-being critical to the production of economic, social, and cultural outcomes that benefit the broader community, it is hoped better services and organisational support may become accessible to (and used by) all musicians. However, much more research is needed to further identify the occupational threats musicians face and to identify the best ways to support music careers. v

6 Part I Introduction It takes a real soldier to stay in the music industry and live off the things that have been put before me and be able to survive all this time because it has not been easy. - Chubby Checker 1

7 1... Introduction Often the general public perceives artists as individuals who enjoy, what many audiences romanticise as, a prestigious and fortunate life. That is, being paid to do something they like doing, with opportunities for self-expression and selfactualisation. This view glosses over the many problems related to careers in the Creative Industries, such as irregular income streams, low career control, low perceptions of industry justice, and the constant feeling of being on the edge of failure. All of which are realities for many musicians. In this report we analyse musician s workplace environments through the lens of the Job Demands-Resources Model. This model allows for stress to be quantified through the measurement of psychosocial factors and is commonly used as the basis for assessment of work-related stress by both The World Health Organisation and Australian regulatory bodies (including Safe Work Australia, Comcare, and the People at Work project). Here's a music industry newsflash - most days of work in the industry are decidedly not glamorous. It s hard, mundane stuff - Heather McDonald, Music Careers Guide In very basic terms, the Job Demands-Resources Model provides a framework for analysis of workplace environments by identifying and measuring key workplace demands (i.e., stressors) and also the resources people possess to deal with those stressors. When job demands outweigh resources negative effects arise, such as psychological distress, burnout, drinking behaviours, intentions to leave the industry, and lower life satisfaction. This model has been used widely and successfully, but to our knowledge has not been applied to professional musicians, whom are largely self-employed and exist in a fluid, self-organised industry. This report has been divided into three sections to provide context for our research, present our research, and make recommendations in hopes of stimulating the development of a strong and vibrant musical arts community. Part I. Introduction An overview of the context of this study and a breakdown of the factors assessed. Part II. Study Findings A presentation of our findings related to the employment profile of professional musicians, the prevalence of job demands, resources, coping strategies, as well as work and life outcomes, and finally our application of the Job Demands-Resources Model in the prediction of musicians work and life outcomes. Part III. Interpretations and Recommendations Interpretation of the findings and recommendations for the betterment of work and life for musicians. 1.1 Overview of the Research The research involved an online survey called the Musicians Well-being Survey sent out to musicians from all over Australia through various music organisations. During 2010 and 2011 data was collected from 204 musicians using an online and anonymous survey assessment. Participants completed questions that gathered information on relevant demographic characteristics, employment characteristics, as well as information on psychosocial work factors that we expected to be related to musician s well-being. 1.2 Aim of the Research Through this research, we aimed to collect data from Australian musicians from a wide variety of circumstances and settings, to garner a good representation of the prevalence of workplace psychosocial hazards specific to the industry. Beyond this, it was our aim to conduct analyses, within the framework of the Job Demands-Resources Model, to determine which aspects of their jobs cause musicians stress, which mitigate stress, as well as determining which coping strategies could best be utilised by musicians to maximise their well-being. 2

8 2... Research Context 2.1 Background While many musicians dedicate large portions of their life to studying to become a professional, only a small portion ever obtains prestigious and well-compensated careers. For the greater portion reality falls short of the glamorous expectation of being a professional musician, yet their contribution to society s functioning remains significant. Challenges, demands, and stressors associated with working as a musician are often underestimated, a concerning number of which are unique to musicians and can lead to psychological strain. These job stressors include: Unconventional work hours (e.g., practicing all day, working nights, and spending weekends performing) Low financial rewards for effort expended Public exposure and criticism for work produced Strenuous schedules (e.g., rehearsing and performing in close proximity with the same colleagues daily) Repetitive programs (e.g., performing the same repertoire multiple times during a season production or tour) Working with hard to please directors (e.g., receiving little recognition or praise), and Fewer jobs (due to arts budget cuts and declining audience attendances). While these issues affect financially well-off musicians their influence is even greater on the many musicians with fewer financial resources and/or rewarding opportunities to compensate for the challenges of working as a musician. Statistically, salary figures for working musicians are significantly lower than for other occupations. According to employee earnings cited by the Australian Bureau of Statistics (ABS) for May 2010, average total earnings for arts professionals (including admin roles) was reported at $995 per week; considerably lower than the average income reported for all occupations at $1,323 per week (see Figure 1). Looking more closely, the Music Australia Council found that in the 2007/2008 financial year musicians average earnings were only $ p/w ($ p/w for composers, $ p/w for other artists). The disparity between these income figures suggests that musicians may experience financial and tenure difficulties. Thus, the purpose of this report is to further investigate such aspects of the working life of music professionals, by examining key job demands and job resources that may contribute to both positive and negative work and life outcomes. 2.2 Relevant Literature $1, $1, $1, $ $ $ $ $0.00 Other Artists Composers Musicians Arts Professionals Average Australian Wage Figure 1. Average weekly wages of arts professionals and average Australian workers (Australian Bureau of Statistics, May 2010). A considerable amount of organisational research has investigated how workers across many industries view their job demands and resources and how this affects their work and life outcomes. However, in relation to music work, research has focused on psychological distress (e.g., anxiety, depression) and treatments related to performing (e.g., performance anxiety), as well as the physical and cognitive strains related to high-level music performance. In addition, research has focused on substance use, finding musicians are at increased risk of partaking in harmful health-related behaviours such as alcohol and drug abuse, cigarette smoking, and risk taking. Very few studies have investigated the psychosocial factors associated with the work environment, or the benefits and costs of working as a musician from an occupational health psychology perspective. Although some researchers have started to investigate other aspects of musicians working life, for example career motivation and the relationship between tenure and job satisfaction, much more research is needed. 3

9 Indeed, of the studies conducted on musicians, symphony players have been most regularly sourced sample, as this represents the most stable and organised musical career (with good access to participants for the researchers). Problematically, very little research has been done on musicians in more precarious (or less secure) work arrangements, who are likely at greater risk of work-related stress. As such, in our research we aim to target musicians with varying: Employment profiles (e.g., self-employed, casual, part/full-time); Genres (e.g., rock, classical, jazz); Music ensemble combinations (e.g., soloists, small ensembles/bands or both); and Music roles (e.g., performers, composers, producers, conductors). Moreover, no previous studies have adopted an occupational health psychology perspective by applying the Job Demands-Resources Model to musicians work and life outcomes (see Figure 2). 2.3 Guiding Research Framework Figure 2. The Job-Demands-Resources Model adapted to musicians. Job Demands Life & Work Outcomes Life Satisfaction Workload Psychological Distress Interpersonal Conflict Job Insecurity & Career Uncertainty Psychological Stress Drinking Behaviours Burnout Intentions to Leave Industry Buffering Mechanism Coping Strategies Job Resources Problem-Focused Job Autonomy Positive Reappraisal Social Support Support Seeking In our study, we expect musicians to experience job stress when there is an equilibrium disturbance between the job demands they are exposed to and the resources they have at their disposal (if both job resources and coping strategies are lacking). More simply, job stress will occur if the demands are high and outweigh the resources available, and this will be reflected in poorer work and life outcomes, for example, lower life satisfaction, increased psychological distress, burnout, and intentions to leave the industry. However, we also expect that some resources might serve a buffering mechanism, protecting musicians from job stress, and identifying these types of resources will inform stress management interventions tailored for professional musicians. Definitions of each of the job demands, resources, as well as work and life outcomes investigated in this study are provided in Table 1. 4

10 3... The Musicians' Well-Being Survey 3.1 Sample Participants were recruited through advertisements and/or invitations that were distributed by a variety of organisations including Australasian Performing Right Association (APRA), Music Council of Australia (MCA), The University of Queensland s (UQ) School of Music, Griffith University s Queensland Conservatorium, Queensland University of Technology s (QUT) Creative Industries Department, Brispop, and QMusic. Participants were invited to complete the Musicians Well-being Survey if they: Were at least 18 years of age; Earned an income from their work as a musician (i.e., performing, song writers/lyricists, composers, producers, and /or conductors); and Had been working as a musician for at least the past 6 months. A total of 229 musicians completed the online survey, of which N = 204 provided usable data and were included in the analyses. Sixty-two percent of the sample was male, with an average age of 36.7 years, and average tenure working in the music industry of 16 years. Further demographic information is outlined in Appendix A. In relation to instruments played and music genres, the sample was diverse and Appendix B outlines this information. 3.2 Survey Design The Musicians Well-being Survey investigated six broad research questions: 1. What is the employment profile of professional musicians? 2. What is the prevalence of musicians work-related stressors (i.e., job demands including workload, interpersonal conflict, and job insecurity and career uncertainty)? 3. What is the prevalence of musicians work-related resources (i.e., job resources including job autonomy and social support from colleagues)? 4. What types of coping strategies (i.e., problem-focused, positive reappraisal, and support seeking) do musicians use to cope with work stressors? 5. What are the levels of well-being (i.e., as reflected in work and life outcomes like life satisfaction, psychological distress, drinking behaviour, burnout, and intentions to leave the industry)? 6. Using the framework of the Job Demands-Resources Model, do work-related psychosocial factors (i.e., demands and resources) predict musicians work and life outcomes? As such, the Musicians Well-being Survey involved items related to employment; for example tenure, salary, and type of work. Questions were also included on work-related psychosocial factors; including job demands, job resources, coping strategies, and work and life outcomes. 3.3 Key Constructs and Measurement Table 1 presents key constructs, definitions, and measurement information. The survey was structured using several established measures; including, for example, the Maslach Burnout Inventory (MBI), Kessler Psychological Distress Scale (K10), and a standard measure of life satisfaction. To investigate musicians alcohol consumption habits, the World Health Organisation 10-item AUDIT questionnaire was also included to provide an assessment of levels, patterns, and problems associated with alcohol consumption. Appendix C outlines further descriptive information on the survey as well as information on the reliability of the survey assessments. 5

11 Table 1. Descriptions of Key Constructs. Category Construct Description Job Demands Job Insecurity and Career Uncertainty Extent individual is doubtful there will be secure/paid work available in the immediate future and whether he/she has uncertainty regarding career prospects in the longer-term. Example items: I feel insecure about finding future work as a musician and My future career opportunities in music are not favourable. Workload Extent individual has an unreasonably high and unachievable workload. Example item: I have too many tasks/activities/projects that I need to juggle. Interpersonal Conflict Extent individual experiences work task-related and interpersonal conflict with colleagues. Example items: My colleagues and I have different visions on work and There are often personal clashes between me and my colleagues. Job Resources Job Autonomy Degree of discretion and decision-making power an individual has over his/her work in terms of selection of tasks, methods, pacing. Example items: I have some say over how I get the work done and The work provides me significant autonomy in making decisions. Social Support Degree to which individual feels he/she has ready access to help from colleagues (i.e., emotional and instrumental support) for work-related problems. Example item: I can rely on my co-workers to help me out with work problems. Coping Strategies Work and Life Outcomes Problem Focused Positive Reappraisal Support Seeking Life Satisfaction Psychological Distress Drinking Behaviours Burnout Intentions to Leave Industry Actively targets causes of stress in practical ways design to solve the problems at hand. Example item: During the last 30 days, to cope with work stressors, I have taken additional action to solve the problem. Attempts to see the good (i.e., silver lining) in what is happening. Example item: During the last 30 days, to cope with work stressors, I have tried to see it in a different light, to make it seem more positive. Actively seeking help and advice for solving problems and/or emotional support and comfort. Example items: During the last 30 days, to cope with work stressors, I have tried to ge advice from someone about what to do and Discussed my feelings and concerns with someone. Degree individual thinks their life is close to ideal and exactly as they want. Example item: In most ways my life is close to ideal. Characterised by general feelings of anxiety, depression, worthless guilt, and fatigue. Example item: During the last 30 days how often did you feel: so depressed that nothing could clear you up? Assesses alcohol consumption rates as well as hazardous or harmful drinking-related behaviours over the past year. Example item: How often do you have a drink containing alcohol? Degree to which the individual is strained from their work, in terms of emotional exhaustion (i.e., feeling worn out), cynicism (i.e., feeling like work lacks meaning), and a lack of professional efficacy (i.e., feeling less capable). Example item: I feel emotionally drained from my work. Intention to leave or change their current profession sometime in the next three months. Example item: Do you seriously intend to seek a different occupation during the next three months? 6

12 Part II Study Findings 7

13 4... Employment Profile 4.1 Music Work Status Participants were asked to report their employment status as a musician. The majority of participants reported being a self-employed musician (45.2%). Some participants indicated being both self-employed and working temporary or casual employment (25%), whereas others reported working casual employment (13%) only. A small percentage of musicians reported being currently unemployed (5.3%), in permanent work (7.7%), or other employment (1.4%). Musicians were asked to select the types of music roles in which they worked from given options, including: performing, song writing or composing, producing, and conducting. The majority of musicians reported either being a performing musician only (41%), or a performing musician and a songwriter (34%). The remained cited themselves as various combinations of songwriter, performer, producer and conductor (25%) with one and a half percent not reporting on their music roles. Participants were asked to report how long they had been working as a musician. The average work tenure of participants was 16 years (sd = years), with scores ranging from 6 months to 63 years. As shown in Figure 3, participants music work tenure (or years working in the music industry) has been grouped in ten-year brackets. Nearly half of all participants reported working in music for ten years or less (47%) with the number decreasing in each ascending bracket. 9% < 10 17% 46% % 41 < Figure 3. Participants tenure working as a musician indicated by years. 4.2 Music Work Yearly Income From the 204 participants, 130 (74 missing) reported their yearly income (before tax) made from working in the music musicians earned on average industry. The median yearly income was $12,000 (Mean = $776 per week, $20,696; sd = $23,236). As shown in Figure 4, most musicians recorded a yearly music income between $1 and which is $219 less than other $10,000 (46%) with the number decreasing in each successive bracket displayed. Indeed, only 7% earned arts professionals and $547 less upwards of $60,000 a year. Many musicians did not give a response to our income item. Two explanations for this are, than the average wage in Australia that: (1) many musicians are actually unaware of how much they earn given how variable their income flows are; and/or (2) some musicians are hesitant to report how much they earn, despite the data being collected anonymously. To attempt to mitigate this issue, we included an item that asked about hourly rate. The hourly rates reported varied considerably, with a mean of $60.30 per hour (Median = $50.00; sd = $39.72). However, the amount of missing data on this item was very similar to the yearly income item (approximately 50%). 8

14 < $10K $10K - $20K $20K -$30K $30K -$50K $50K - $90K $90K + Figure 4. Participants yearly income from working as a musician. 4.3 Music Work Weekly Hours Musicians were also asked to report how many hours they dedicated per week to tasks such as performing, writing music, recording music, producing music, personal practice, rehearsing with others, managing and coordinating work, and other duties such as paperwork. The results showed that the respondents typically spent on average a total of hours per week (sd = hours) doing music work. 4.4 Supplementary Work Status Musicians were asked to report whether they had undertaken any other or supplementary work within the last six months. Approximately 13% of respondents did not do other work beyond what they described as their professional music work, meaning 87% of musicians worked some kind of second job, these jobs included: Music Teaching (44%), including: classroom and private tuition Jobs in Other Creative Industries (21%), including: Graphic Design Writing Visual Arts Acting Other Music Related Roles (8%), including digital distribution, music publishing Retail (9%) Hospitality (7%) Clerical jobs (6%), including: Administration Office Duties Other Professional Roles (5%), including: Events Management Research Human Services and Social Work Information Technology Management 9

15 4.5 Supplementary Work Yearly Income Of the 87% participants (N = 177) who reported doing supplementary work, 112 (65 missing) reported a yearly income from this work. The median supplementary yearly income was $20,000 (Mean = $27,851; sd = $23,271). As shown in Figure 5, the largest number of musicians reported between $1 and $10,000 (36%) earnings < $10K $10K - $20K $20K -$30K $30K -$50K $50K - $90K $90K + Figure 5. Participants yearly supplementary work income. 4.6 Supplementary Work Weekly Hours Participants were asked to report how many hours they did of supplementary work per week. The average supplementary work per week was hours (sd = hours), with scores ranging from 1 hour to 55 hours. As shown in Figure 6, approximately fifty-five percent of participants reported either 10 hours or less per week (27.6%) or 11 to 20 hours per week (27.6%) supplementary work. There were fewer participants who reported 41 hours or more (9.9%) in their supplementary work role. 10% 26% 27% < % 28% 41 < Figure 6. Participants weekly supplement work hours per week. 10

16 4.7 Combined Work Hours and Income The numbers of hours participants worked per week doing professional music work and doing supplementary work were combined to find out how many hours participants worked in total per week. These figures are based on the N =170 participants who provided information on their weekly hours for both music and supplementary jobs. The results revealed that our participants worked on average 51 hours per week (sd = hours), with approximately 58% working above the recommended maximum of 48 hours per week. This suggests that many musicians are at risk of job stress from working excessive work hours, including increased risk of injury at work, smoking intensity, anxiety, alcohol abuse, and risk of dying from cardiovascular diseases. approximately 58% of musicians reported working more than the recommended 48 hours per week Professional music work and supplementary work yearly incomes were combined to find out approximately how much income participants were earning in total per year. These figures are based on the N = 103 participants who provided us with information on their earnings. The average combined yearly income was $40,360 (Median = $35,000; sd = $26,366). Further, participants average weekly income was calculated and compared to the Australian minimum wage of $ per week (from 2010, the wage at the time of data collection). Musicians earned on average a total income of $ per week, which is $ more than the minimum wage in Australia. However, approximately 45% reported earnings below the minimum wage. The results revealed further, that musicians average weekly income is below the average arts professionals weekly income of $995, and below the average Australian income of $1,323, as reported by the ABS. These figures suggests that many people who work in the music industry may be at risk of poverty and falling below the federal Government s minimum standard of living for Australians. approximately 45% of musicians reported earnings below the minimum wage in Australia 11

17 5... Prevalence of Psychosocial Factors 5.1 Prevalence of Job Demands and Job Resources As displayed in Table 2, musicians job demands are reasonably prevalent, with approximately 44% of musicians reporting high to very high levels of workload (i.e., having too much work to do), while 11% reported high to very high levels of interpersonal conflict (i.e., task-related or personal conflict with co-workers), and 27% of musicians reported high to very high levels of job insecurity and career uncertainty (i.e., concerns over getting the next gig or piece of work and uncertainty about career progression / trajectory). The main stress in this job is dealing with a society that doesn t value the arts, particularly musicians, because everyone sees us as having fun on stage and apparently that should be enough payment in itself! Then there is economic rationalism where all musos are forced to work in duos just to pay the rent which is soul destroying Research Participant Comment In relation to job resources, 82% reported high to very high levels of job autonomy in their work (i.e., the ability to organise and influence what work they do and how they go about doing that work). In addition, 60% reported high to very high levels of access to social support in their work (i.e., having access to co-workers that they can talk to about workrelated problems). Table 2. Prevalence of Job Demands and Resources. Psychosocial Factors % Very Low %Low % Mid %High % Very High Job Demands Workload 6% 18% 32% 28% 16% Interpersonal Conflict 13% 45% 31% 8% 3% Job Insecurity and Career Uncertainty 21% 24% 28% 17% 10% Job Resources Job Autonomy 1% 4% 13% 26% 56% Social Support 4% 11% 25% 24% 36% 12

18 5.2 Use of Coping Strategies As displayed in Table 3, more musicians use positive reappraisal as a coping strategy, which is described as looking for the positives or finding the silver lining (53% in the high and very high categories), than problem-focused coping, which is attempts to plan for or directly target the problem (45% in the high and very high categories). Fewer musicians reported seeking support as a coping strategy, which involves reaching out and seeking informational or emotional support from others (20% in the high and very high categories). Seeking support was the least common strategy for dealing with the work stress reported by musicians. Table 3. Use of Coping Strategies. Coping Strategies % Very Low %Low % Mid %High % Very High Problem-focused 14% 14% 27% 30% 15% Positive Reappraisal 12% 14% 21% 20% 33% Support Seeking 23% 20% 38% 14% 6% 5.3 Prevalence of Work and Life Outcomes As displayed in Table 4, 56% reported high to very high levels of general life satisfaction. However, 8% reported high to very high levels of psychological distress (i.e., feelings of anxiety and depression) during the last 30 days. Of our sample, 4% reported high levels of burnout from their work, and 10% reported high to very high intentions to leave the industry. Indeed, one in five musicians are considering leaving the industry (if you combine mid, high, and very high categories). Table 4. Prevalence of Job Stress, as reflected in Work and Life outcomes. Outcomes % Very Low %Low % Mid %High % Very High Life Outcome Life Satisfaction 6% 14% 36% 32% 24% Psychological Distress 39% 33% 20% 7% 1% Work Outcomes Burnout 25% 50% 22% 4% 0% Intentions to Leave Industry 73% 9% 9% 8% 2% Completing the survey made me reflect on my career, aspirations, and my work/life balance as a musician. Although not directly feeling stress, there always seems to be a "pressure", whether applied by oneself, by one's peers. One feels they should always be doing more to advance one's musical career, but never get the appreciation they feel they deserve." Research Participant Comment 13

19 5.4 World Health Organisation AUDIT Assessment Using the Alcohol Use Disorder Identification Test (AUDIT), musicians were asked to report how often they consumed drinks containing alcohol. As shown in Figure 7, approximately one third responded they drink 4 or more times a week. As displayed in Figure 8, the majority (65.7%) had 4 or less standard drinks on a typical day when drinking, while 9.4% consumed more than 6. Nearly fifteen per cent of participants did not give a response to this item (14.1%), despite use of an anonymous online survey to collect the data. 6% 33% 28% 13% 20% Never Monthly or less 2-4 times per month 2-3 times per week 4 or more times per week 15% 3% 7% 11% 27% 37% 1 or 2 3 or 4 5 or 6 7 to 9 10 or more No response Figure 7. Participants reported frequency of days drinking alcohol. Figure 8. Participants rate of consuming standard drinks on a typical day when drinking. In accordance with the general guidelines for using the AUDIT, participants responses to the 10 item measure were summed to obtain a total AUDIT score. Possible scores could range from 0 to 50. According to the World Health Organisation, alcohol consumption levels are considered Low risk for scores at 7 or below, Hazardous for scores from 8 to 14, and Harmful for scores at 15 or above. Table 5 displays the proportion of our participants classified into each of the AUDIT risk categories (i.e., low, hazardous, and harmful). For comparison purposes, the table also includes AUDIT scores taken from a university study which investigated students alcohol consumption rates. As suggested by the World Health Organisation, 61.5% of our sample is drinking at harmful levels. This is a major concern as such high levels of alcohol consumption could be causing health and other life problems. Compared with the university students, musicians were one and a half times more likely to report AUDIT scores in the harmful category. Table 5. AUDIT Drinking Behaviours Risk Categories and Scores. Risk Audit Guidelines Australian University Musicians Well-being Categories Student Data Survey Data Low Risk Hazardous Harmful Scores 7 or below indicate low risk for problems caused by drinking alcohol. Scores 8 14 indicate being at risk for problems caused by drinking alcohol. Scores 15 or above indicate drinking alcohol could be causing life problems. Brief counselling and continued monitoring are recommended % 6.50% 30.50% 32% 38% 61.50% 14

20 6... The Job Demands-Resources Model 6.1 Main Effects After controlling for demographics (Step 1) and general levels of anxiety and depression (Step 2), regression analysis revealed that many work-related psychosocial factors had a significant influence on the life and work outcomes investigated (as represented by the bolded statistics in Table 6 - Steps 3 and 4). Of particular interest: Life Satisfaction: It was found that higher levels of job insecurity and career uncertainty was related to lower life satisfaction while use of more positive appraisal coping was found to be associated with greater life satisfaction. Psychological Distress: It was found that higher levels of workload, interpersonal conflict, and job insecurity and career uncertainty were all related to higher psychological distress. Social support was associated with slightly lower psychological distress. Drinking Behaviours: It was found that males reported more problematic drinking behaviour. In addition, it was found that those with a higher workload reported less problematic drinking behaviour, and those who used positive reappraisal as a coping strategy reported more problematic drinking behaviour. Burnout: It was found that higher levels of workload and job insecurity and career uncertainty were related to more burnout. More access to social support was associated with slightly lower burnout, as was more use of support seeking coping strategies. Intentions to Leave the Industry: It was found that higher levels of job insecurity and career uncertainty was related to higher intentions to leave the industry. Interestingly, use of more problem-focused coping was also related to higher intentions to leave the industry. Table 6. Regression results on strength and direction of association of psychosocial factors with work and life outcomes. Predictors Life Outcomes Work Outcomes Life Psychological Drinking Intentions to Satisfaction Distress Behaviours Burnout Leave Industry β β β β β Step 1: Demographics Gender a * Age Education Level Work Tenure Step 2: Control Variables Anxiety -.370**.581** **.093 Depression -.174**.216** *.094 Step 3: Demands Workload ** -.203*.196** Interpersonal Conflict * Job Insecurity & Career Uncertainty -.254**.172** **.465** Step 4: Resources Social Support * * Job Autonomy Problem-focused Coping ** Positive Appraisal Coping.155 t * Support Seeking Coping t Notes. a Gender was coded as 1 for males and 2 for females.; t Significant at the p <.075 level; * Significant at the p <.05 level; ** Significant at the p <.01 level. 15

21 6.2 Moderating Effects Sometimes associations, like those presented in Table 6, are conditional upon other factors, which is described as moderating effects. Based on the findings in Table 6, we tested relevant job demand by resource interactions on each of the life and work outcomes. In particular, we investigated whether the negative consequences of job demands on life and work outcomes were mitigated by access to higher levels of job resources or greater use of particular coping strategies (i.e., we tested to see if any of the resources investigated exerted stress-buffering effects). These findings are summarised in Tables 7 and 8 below and displayed in graphs in Appendix D. Overall, the pattern of interactive effects demonstrates access to (and use of) resources attenuates or eliminates the negative consequences of job demands, which is in line with the Job Demands-Resources Model. See the Tables on the following pages for a summary of these stress-buffering effects of specific job resources (Table 7) and coping strategies (Table 8). Of note is the lack of stress-buffering effects of job resources in contrast to the coping strategies, which suggests much of the management of stress falls on individual musicians and there are little supports of inherent aspects of the their work that serve as protective factors. Another implication of these findings is that a lack of resources (i.e., low levels of job resources and low use of coping strategies) results in job demands exerting more detrimental effects on a range of life and work outcomes. Table 7. Summary of interactive effects where job resources were investigated as a moderating factor. Job Resources Moderated the Resulting in: effect of: Job Autonomy Interpersonal Conflict ü Access to higher levels of job autonomy lessened the negative effect of interpersonal conflict on life satisfaction, but did not eliminate it. û Surprisingly, access to higher levels of job autonomy exacerbated the negative effect of interpersonal conflict on drinking behaviour. No other moderating effects. Social Support No moderating effects. Notes. Ticks mean the effect is what would be expected from the JD-R framework presented in Figure 2, whereas crosses are contrary to the JD-R. When an effect is described as eliminated the tick is in green as this means the simple slope is non-significant at high levels of the resource. An orange tick means high levels of that resource did not eliminate the negative effect of that specific job demand, just lessened the negative effect. 16

22 Table 8. Summary of interactive effects where coping strategies were investigated as a moderating factor. Coping Strategies Problem-focused Coping Moderated the effect of: Workload Resulting in: ü Higher use of problem-focused coping strategies eliminated the negative effect of workload on burnout. ü Higher use of problem-focused coping lessened the negative effect of workload on intentions to leave the industry, but did not eliminate it. Positive Reappraisal Coping Interpersonal Conflict Workload ü Higher use of problem-focused coping lessened the negative effect of interpersonal conflict on intentions to leave the industry, but did not eliminate it. ü Higher use of problem-focused coping eliminated the negative effect of interpersonal conflict on drinking behaviour. No other moderating effects. ü Higher use of positive reappraisal coping eliminated the negative effect of workload on burnout. Support Seeking Coping Interpersonal Conflict Workload ü Higher use of positive reappraisal eliminated the negative effect of interpersonal conflict on burnout. No other moderating effects. ü Higher use of support seeking coping eliminated the negative effect of workload on life satisfaction and burnout. Interpersonal Conflict ü Higher use of support seeking coping eliminated the negative effect of interpersonal conflict on intentions to leave the industry. Job Insecurity and Career Uncertainty û Higher use of support seeking coping strengthened the negative effect of job insecurity and career uncertainty on psychological distress. No other moderating effects. Notes. Ticks mean the effect is what would be expected from the JD-R framework presented in Figure 2, whereas crosses are contrary to the JD-R. When an effect is described as eliminated the tick is in green as this means the simple slope is non-significant at high levels of the resource. An orange tick means high levels of that resource did not eliminate the negative effect of that specific job demand, just lessened the negative effect. 17

23 Part III Interpretations and Recommendations 18

24 7... Interpretations The Musicians Well-being Survey investigated six broad research questions: 1. What is the employment profile of professional musicians? 2. What is the prevalence of work-related stressors (i.e., job demands including workload, interpersonal conflict, and job insecurity and career uncertainty) faced by musicians? 3. What is the prevalence of work-related resources available to musicians (i.e., job resources including job autonomy and social support from colleagues)? 4. What types of coping strategies (i.e., problem-focused, positive reappraisal, and support seeking) do musicians commonly use to cope with work stressors? 5. What is the level of well-being (i.e., as reflected in work and life outcomes like life satisfaction, psychological distress, drinking behaviour, burnout, and intentions to leave the industry)? 6. Using the framework of the Job Demands-Resources Model, do work-related psychosocial factors (i.e., demands and resources) predict musicians work and life outcomes? 7.1 Musicians Employment Profile First, it was revealed that the employment arrangements of many musicians are particularly insecure and the income level is poor. Approximately 91% of the sample had some kind of precarious work situation for their professional music work (e.g., self-employed, causal, temporary contract), and 87% supplemented this work with an additional job (e.g., teaching, other creative, or music-related work). In our sample, on average, musicians earned on average $776 per week, which is $219 less than other arts professionals and $547 less than the average wage in Australia according to ABS data. This low level of income is despite the majority of our sample being highly educated (76% completing some form of tertiary qualification) and having considerable tenure/experience in the industry (on average 16 years). Musicians are also working long hours, an average of 50 hours per week for those undertaking two or more jobs. 7.2 Prevalence of Psychosocial Factors Second, it was revealed that the job demands faced by musicians are prevalent, with 44% reporting high to very high levels of workload, 11% high to very high levels of interpersonal conflict, and for 27% high to very high levels of job insecurity and career uncertainty. Third, it was found that job resources were also reported as prevalent, with high to very high levels of access to job autonomy reported by 82% of our sample, while 60% reported having high to very high levels of access to social support from co-workers. Fourth, we found that musicians reported more commonly using coping strategies like positive reappraisal (53% high to very high levels) and problem-focused coping (45% high to very high levels), as compared to seeking support (20% high to very high levels) as a coping mechanism. Fifth, it was revealed that, rather promisingly, 56% reported high to very high levels of general life satisfaction. However, 8% reported experiencing high to very high levels of psychological distress (feelings of anxiety and depression during the last 30 days). In addition, 4% reported high levels of burnout from their work, and 10% reported high to very high intentions to leave the industry. Particularly startling, was that 62% of musicians in our sample are drinking to harmful levels, based on the World Health Organisation s AUDIT assessment. According to the World Health Organisation, harmful levels of alcohol consumption can cause life problems and brief counselling and continued monitoring are recommended as interventions to address this behaviour. 7.3 Predictive Utility of Job Demands-Resources Model for Musicians Well-being Finally, within the framework of the Job Demands-Resources Model it was expected that demands would be associated with increases in job stress, while resources would be associated with reductions in job stress, as reflected in the work and life outcomes investigated. Furthermore it was expected that these psychosocial factors would interact in such a way that higher access to job resources, as well as higher use of coping strategies, would reduce or eliminate 19

25 the negative effects of job demands on work and life outcomes. Our findings, while not perfectly mapping onto the Job Demands-Resources Model, are largely consistent with it. Our results revealed that: After controlling for a range of factors, above other job demands, job insecurity and career uncertainty poses the largest threat to musicians life and work outcomes (i.e., associated with lower life satisfaction, and higher psychological distress, burnout, and intentions to leave the industry). This highlights the need for both consistency and security in musicians work in order to reduce job-related stress. Workload was associated with higher psychological distress and burnout, and interpersonal conflict with higher psychological distress. In contrast, our findings show that access to social support from co-workers reduced psychological distress and burnout. However, despite the high prevalence of job resources like job autonomy and social support, which are typically considered effective job resources for combating job stress, our findings show that these job resources were somewhat impotent as stress-buffering mechanisms, with very limited moderating effects revealed (i.e., these job resources did not reliably mitigate or eliminate the negative effects of job demands on musicians work and life outcomes, which is contrary to the Job Demands-Resources Model). Promisingly, the interactive effects did reveal that seeking support for work-related stressors was a particularly useful coping mechanism, which mitigated the negative effects of workload and interpersonal conflict. Unfortunately, the data suggests that this coping strategy is being used by a minority of music professionals, despite its effectiveness in alleviating stress. It was also found that problem-focused coping and positive reappraisal were useful coping strategies for dealing with workload and interpersonal conflict. Unfortunately, none of the job resources or coping strategies investigated were found to alleviate the negative consequences of job insecurity and career uncertainty. 7.4 Emergent Findings Unexpectedly, it was found that: Problem-focused coping was positively associated with intentions to leave the industry. Perhaps musicians who are using this more proactive and problem-targeted coping strategy are more prepared to entertain and explore other career options as a solution to the work stress they face. In one instance, higher levels of job autonomy was found to be stress-exacerbating, increasing the relationship between interpersonal conflict and drinking behaviour. It is possible that job autonomy, in the context of creative work, is not always a useful resource. Greater access to alcohol in the work place (i.e., at gigs/venues) might lead musicians to feel freer to avoid the stress of interpersonal conflict through increased drinking. In one instance, higher support seeking coping was found to increase the relationship between job insecurity and career uncertainty and psychological distress. However, it is more likely that those experiencing both greater job insecurity and career uncertainty and psychological distress are more likely to need to seek support as a coping strategy, given the considerable pressure they face. As already highlighted, all in all, none of the resources examined alleviated the negative consequences of job insecurity and career uncertainty, which was associated with lower life satisfaction, and higher psychological distress, burnout, and intentions to leave the industry. It is also important to consider that seeking support was a useful coping strategy for alleviating workload and interpersonal conflict job demands. The use of positive reappraisal as a coping strategy was associated with more drinking behaviour, and those with more workload reported less drinking behaviour. These findings, although not expected, make sense. Those with a higher workload might be very busy and successful, not feeling the need to engage with harmful levels of drinking. In contrast, positive reappraisal is a coping response aimed at making one s self feel more positive about a situation, which is likely to be a reason people might also engage in excessive drinking. Future research could untangle these unexpected effects by collecting data over time (i.e., more than at just one time point). For example, to elucidate the sequence of events that lead to psychological distress and whether support seeking coping is a response to this distress or otherwise involved in the causal chain of factors. 20

26 7.5 Conclusions In conclusion, this report has shown the working life of the average musical artist is not glamorous, rather it is a highstress low-reward work environment, clearly evidenced by above average work hours, lower than average weekly salaries and the absence of job permanency and stability. Musicians who reported more job insecurity and career uncertainty also reported less life satisfaction, greater psychological distress, burnout, and intentions to leave the industry. None of the job resources or coping strategies explored in this research mitigated the negative consequences of job insecurity and career uncertainty on musicians work and life outcomes. Overall, this precarious employment is a prevalent job stressor faced by musicians, who simultaneously seem to have low capability to mitigate or remedy it with the current supports and resources available. Overall, it seems that professional musicians work design provides limited job resources that can effectively reduce the negative consequences of job demands (i.e., although levels of job autonomy and social support from colleagues were high, these did not effectively or universally alleviate the negative consequences of job demands). As such, much of the management of stress falls to musicians own coping responses. Although the three types of coping explored in this study were all found to be useful for alleviating the negative consequences of workload and interpersonal conflict, as already highlighted, none of the coping strategies or job resources identified in this research were effective stressbuffers of job insecurity and career uncertainty. This revelation begs the questions: How do we generate more access to (or use of) organisational or structural supports within the industry to improve the work design of music jobs, and How do we better develop musicians coping skills, for both their career management and general health and well-being? 21

27 8... Recommendations 8.1 Support Network/Organisations It is recommended that an initial scoping exercise with industry is undertaken, to audit: 1. Current services and support mechanisms available to music professionals, 2. How the availability of these services are communicated to music professionals, 3. What the level of use/uptake is of these services, and 4. Whether there are factors that might undermine efforts to increase access to (and use of) such services and supports (e.g., is there a culture of independence, competition for resources, or a lack of trust). Such an industry audit would be very informative and further guide the recommendations in this report, as the results of our study revealed musicians working solo or alone (i.e., who lack access to social support from co-workers) may be at greater risk of experiencing psychological distress and burnout. Moreover, that support seeking coping strategies proved to be a significant buffer of stress from workload and interpersonal conflict, however, and unfortunately, the minority of music professionals engage in support seeking behaviours. As the majority of musicians indicated they do not have permanent work (i.e., temporary or casual) or are self-employed, these individuals are not receiving the benefits that come from working within an organisation under a secure/permanent employment arrangement. As well as missing out on basic work entitlements such as sick, holiday, and maternity leave, self-employed and casual musicians do not have access to employee assistance programs, manager support, human resources, psychological and counselling services, and professional development opportunities. Further, these musicians are not gaining the social benefits of a work identity of belonging to both a larger organisation and a primary work group of colleagues, which studies have found can help to reduce psychological distress in employees. Given these research findings, it is recommended that efforts be made to enhance access to (and use of) existing services, as well as potentially establishing a new network or support organisation that focuses exclusively on workplace issues, mental health and social services, as well as career advice tailored specifically for music professionals. Creation of an official support network or organisation for professional musicians would mean artists could belong to and network with a larger body of like-minded professionals and have access to specialist employment, mental health services, and career advice. One potential format that this support network could take could be through the provision of funding to create community hubs or support spaces, potentially at venues, radio stations, or recording studios. Creating a physical meeting place where music professionals can network with each other could go a long way towards bolstering access to social support for those musicians who do not have ready access to it. Music associations like APRA/AMCOS are making headway with programs like Getting a gig 101 and through the provision of workshops on career development. However, APRA/AMCOS has its work cut out for it managing the royalties for Australian and New Zealand members, totalling $256.2 million. Indeed, although there is a union, the Musicians Union of Australia (MUA), its purview is to lobby government and industry to set minimum rates, working hours, and conditions to a fair standard. Mental health services are not the purview of APRA/AMOS or the MUA. Musicians need a support organisation that specifically targets mental health issues, in particular, a focus on the development of coping skills and self-care capabilities. It is further recommended that the curriculum of current arts training institutions include coping skills training for artists, and relevant survival skills appropriate to the ever evolving nature of the arts industry. Coping skills training can help musicians learn to better cope with managing their thoughts and behaviour patterns related to working as a musician, and has demonstrated to improve health and quality of life outcomes in other fields and occupations. 22

28 8.2 Apprenticeship / Mentoring Programs Our research shows that individual coping strategies are effective in buffering the types of job stress experienced in the music industry. An apprenticeship or mentorship program would be an effective and efficient way to facilitate development of the individual coping strategies investigated in the present study, including positive appraisal of stressful situations, an ability to distil and plan for specific problems, and seek support when needed. Such a program could be similar to successful programs found in other industries, where mid and late career professionals are given financial support and resources to employ younger or less experienced workers. In order to receive eligibility to take on an apprentice, one might need to attend and pass a course, which could include leadership training, alcohol education, and training in the specific strategies that have been show to help relieve stress. This initiative has the duel impact of giving much needed support and workload relief to mature artists, and a support pathway and mentorship for young artists. In this way, an apprenticeship program could also help buffer the negative effects of job insecurity and career uncertainty for both the mentor and the mentee by adding structure and a pathway in an industry that has been stripped of traditional structures (e.g., with the collapse of the studio system and the development of the internet and the globalization of the arts economy). More studies need to be conducted to observe the true potential and impact of an apprenticeship / mentoring program, and it is suggested that a pilot program would be a worthy first step before full-scale implementation. Further to this, an apprenticeship or mentor program would provide the opportunity to include relevant training modules designed to improve the life and work outcomes of artists. For example, requiring participation in alcohol education and awareness programs in order to stay in the apprenticeship. A specific example of an alcohol awareness program is the Hello Sunday Morning (HSM) program ( which encourages people to take a break from drinking alcohol and blog about their experience. People who participate in HSM are reported to have improved mental and physical well-being, and are more likely to achieve their goals. 8.3 Direct Funding for Individual Artists Whilst government-funding bodies invest heavily into creative industry companies, little support seems to be directed toward the individual artists. The MCA s annual report for reveals $199.2 million in grant and project funding was provided to artists and arts organisations, however, grants specifically funding individual musicians (i.e., Music Grants and Australian Fellowships) totalled only $8.1 million. The majority of grants funded focused on community, organisation, and group development, for festivals, education, and awareness programs. Only 1,340 individual artists were funded, which is a small figure given some statistics suggest there could be approximately 205, 343 songwriters, composers, and music publishers working in Australia and New Zealand (based on those artists represented by APRA). Indeed, of the MCA s $199.2 million in funding from , $55.8 million went to Orchestras, $23.5 million went to Opera, and only $14.5 million to Other Music, this is despite classical musicians making up 2% of APRA s membership. The results of our study revealed many musicians work in precarious employment arrangements, and job insecurity and career uncertainty contributes to higher levels of psychological distress and burnout (among other factors). Funding individual artists works to directly alleviate this financial stress but also would enable development of creative outputs that could benefit the broader community. Further research is also needed to examine how much organisational funding (e.g., through festivals or education / awareness programs) reaches or positively impacts individual artists. 23

29 9... Next Steps The aim of this study was to examine the realities of work as a professional musician, and provide recommendations as to the best way to encourage, support and stimulate a vital, yet fragile, industry. The purpose is not to give a highly detailed roadmap as to how to implement these changes, but to start a conversation by creating a light on the hill to work towards, in order to foster better life and work outcomes for music artists. Indeed, further research is needed that examines: 1. Other work-related risks for musicians well-being (e.g., the impact of work hours on sleep quality); 2. The impact of job insecurity and career uncertainty on physical health and specific mental health outcomes; 3. The development and aetiology of these processes over time (e.g., with prospective cohort studies follow graduates of music programs through the early career stages of their work as a musician to see whether excessive demands and a lack of resources can predict physical and mental health overtime, as well as actual exit from the music industry); and 4. Whether particular interventions or resources are actually useful tools for musicians stress reduction (e.g., qualitative research could identify other resources we failed to include in this initial survey study, and intervention or quasi-experimental studies could test the efficacy of such interventions and resources). I think this research is very valuable. As someone who threw themselves into music at a very early age I have found that the music I make is my sole worth. In my mind I know that is wrong however my music is so often complimented, and I so often have people wanting to speak to me because of my voice and not because of who I am. By day I am a very sad and lonely individual but by night I am the most vibrant person in the room who everyone wants to know. This constant up and down is horrible for my mental health. Thank you for taking the time to write this survey. After clicking the answers I clicked I realised just how bad my mental health had gotten and plan to seek help." Research Participant Comment It is hoped the findings and recommendations of this report with help generate better services and organisational support for music professionals, in order to improve their well-being and help the music industry meet the workplace standards achieved in other professions and industries. 24

30 10... Further Reading Workplace Psychosocial Injury Australian Bureau of Statistics (2011). Employee earnings and hours, Australia, May Canberra: Commonwealth of Australia. Australian Council of Social Service. (2012). ACOSS submission to Fair Work Australia on minimum wages. Sydney: Author. Leka, S. & Jain, A. (2010). Health impact of psychosocial hazards at work: an overview. Retrieved from: Dollard, M., Bailey, T., McLinton, S., Richards, P., McTeran, W., Taylor, A. & Bond, S. (2012). The Australian workplace barometer: report on psychosocial safety climate and worker health in Australia. Retrieved from: Comcare. (2014). Work-related mental stress. Retrieved from: People at Work Project. (2014). Glossary of job demands and job resources. Retrieved from: Richard, M. A., Hutchison, W. S., & Emener, W. G. (2009). Employee assistance programs: Wellness/enhancement programming (4th ed.). Springfield, IL: Charles C Thomas. Sparks, K., Cooper, C., Fried, Y., & Shirom, A. (1997). The effects of hours of work on health: A meta analytic review. Journal of Occupational and Organizational Psychology, 70, Bakker, A.B., Demerouti, E., & Verbeke, W. (2004). Using the job demands resources model to predict burnout and performance. Human Resource Management, 43, Cranny, C.J., Smith, P.C., & Stone, E.F. (1992), Job satisfaction: How people feel about their jobs and how it affects their performance. New York, NY: Lexington Books. Demerouti, E., Bakker, A. B., Nachreiner, F., & Schaufeli, W. B. (2001). The job demands-resources model of burnout. Journal of Applied Psychology, 86, Bakker, A.B., Demerouti, E., & Euwema, M. C. (2005). Job resources buffer the impact of job demands on burnout. Journal of Occupational Health Psychology, 10, Bakker, A.B., & Demerouti, E. (2007). The Job Demands-Resources model: State of the art. Journal of Managerial Psychology, 22, Music Industry Reports APRA AMCOS. (2014). Life s better with music. Report prepared by Ernst & Young. Retrieved from: APRA AMCOS. (2014). Year in review Retrieved from: Australian Council for the Arts. (2014). Australian council annual report 2013 to Retrieved from: Victoria University. (2014). Pride, Passion, and Pitfalls: Working in the Australian Entertainment Industry. Retrieved from: eport.pdf Tonedeaf. (2014). Australia s musicians union busted by Fair Work Australia. Retrieved from: 25

31 Academic Literature on Musicians Work and Well-being Sternbach, D. (1993). Stress in the lives of musicians on and off stage. In A. Bejjani (Ed.), Current research in arts medicine (pp ). Acapella Books. Mogelof, J. P., & Rohrer, L. H. (2005). Rewards and sacrifices in élite and non-élite organizations: Participation in valued activities and job satisfaction in two symphony orchestras. International Journal of Manpower, 26, Sataloff, R., & Rosen, D., & Levy, S. (1999). Medical treatment of performance anxiety: A comprehensive approach. Medical Problems of Performing Artists. 14, Fishbein, M., Middlestadt, S. E., Ottati, V., Straus, S., & Ellis, A. (1988). Medical problems among ICSOM musicians: Overview of a national survey. Medical Problems of Performing Artists, 3, 1 8. Williamon, A., & Thompson, S. (2006). Awareness and incidence of health problems among conservatoire students. Psychology of Music, 34, Raeburn, S. D. (2000). Psychological issues and treatment strategies in popular musicians: A review, part 2. Medical Problems of Performing Artists, 15, Cosper, R. (1979). Drinking as conformity: A critique of sociological literature on occupational differences in drinking. Journal of Studies on Alcohol and Drugs, 40, Grønnerød, J. S. (2002). The use of alcohol and cannabis in non-professional rock bands in Finland. Contemporary Drug Problems, 29, Martin, J. K., Roman, P. M., & Blum, T. C. (1996). Job stress, drinking networks, and social support at work: A comprehensive model of employees problem drinking behaviours. The Sociological Quarterly, 37, Piperek, M. (1981). Psychological stress and strain factors in the work of a symphony orchestra musician - Contributing to a job profile for orchestra musicians. In M. Piperek (Ed.), Stress and music: Medical, psychological, sociological and legal strain factors in a symphony orchestra musician s profession (pp. 3 14). Vienna: Wilhelm Braumüller. Brodsky, W. (2006). In the wings of British orchestras: A multi-episode interview study among symphony players. Journal of Occupational and Organizational Psychology, 79, Dobson, M. C. (2010). Insecurity, professional sociability, and alcohol: Young freelance musicians perspectives on work and life in the music profession. Psychology of Music, 39, Standard Measures used in Musicians Well-being Survey Dawe, S., & Mattick, R. (1997). National drug strategy: Review of diagnostic screening instruments for alcohol and other drug use and other psychiatric disorders. Canberra: AGPS. World Health Organisation. (2014). Global status report on alcohol and health Retrieved from: Schaufeli, W. B., Leiter, M. P., Maslach, C., & Jackson, S. E. (1996). The Maslach Burnout Inventory-General Survey. In C. Maslach, S.E. Jackson, & M.P. Leiter (Eds.), Maslach Burnout Inventory. Palo Alto, CA: Consulting Psychologists Press. Kessler, R.C., Andrews, G., Colpe, L.J., Hiripi, E., Mroczek, D.K., Normand, S.L.T., Walters, E.E., & Zaslavsky, A.M. (2002). Short screening scales to monitor population prevalences and trends in non-specific psychological distress. Psychological Medicine, 32, Diener, E., Emmons, R.A., Larsen, R.J., & Griffin, S. (1985). The satisfaction with life scale. Journal of Personality Assessment, 49,

32 Appendix A... Demographic Characteristics A.1 Data Preparation After performing an initial screening process, a total of 25 cases were removed from the study. Cases were removed for reporting locations overseas, not working in the music industry, or for reporting their job status as retired. This left 204 survey participants (126 male, 77 female and 1 missing information on gender). A.2 Age and Gender Average age was 36.7 years (sd=12.8 years). Male average was 34.6 years (sd=24.6 years), and the females average was 34.9 years (sd=12 years). As displayed in Figure 9, ages ranged from 17 to 73 years, with the most reported age was 25 years. The average age for male participants was 34.6 years (sd=24.6 years), and the average age for females was 34.9 years (sd=12 years). 9% 2% 16% 19% 17% 37% years years years years years 65+ years Figure 9. Age distribution of participants grouped in 10 year brackets A.3 Location Participants were located in Australia (and some in New Zealand). Northern Territory 0% Queensland (QLD) 52% New South Wales (NSW) 21% Victoria (VIC) 19% South Australia (SA) 2% Western Australia (WA) 4% Tasmania (TAS) 1% New Zealand 2% 27

33 A.4 Education and Qualifications Figure 10 presents a pie chart of participants completed level of education. Participants were asked to report their highest level of education. Over 50% of participants were university graduates with either Bachelor degrees (30%), or postgraduate degrees (21%). Another quarter of participants had received higher education qualifications such as a TAFE certificate (8%) or Diploma (17%). Less than 25% of participants had graduated from secondary school after completing either Year 10 (7%) or Year 12 (17%). Less than a quarter of all participants were currently studying either full-time (14.2%) or part-time (8.3%) at the time of data collection. 21% 7% 17% Year 10 Year 12 TAFE Cert. 8% Diploma Degree 30% 17% Post Grad. Figure 10. Participants completed level of education. 28

34 Appendix B... Musician Characteristics B.1 Main Instrument Musicians were asked to report their main instrument. The responses were categorised into musical instrument groups. Over half of all respondents reported their main instrument as Guitar (e.g., electric, acoustic, banjo, octave mandolin; 27%) or Voice (e.g., all genres of singing including opera; 25%). Another popular main instrument was Piano (e.g., keyboard; 15.5%). Less popular main instruments played by musicians were Percussion (9.5%), Strings (8%), Bass Guitar (6%), Woodwind (5.5%), Brass (1.5%) and Other (e.g., harmonica; 2%). Figure 11 shows the distribution of musicians instruments organised by various instrumental groups. Figure 11. Participants main instruments grouped in categories. 60% 50% 40% 30% 20% 10% 0% Guitar Voice Piano Percussion Strings Bass Guitar Woodwind Brass Other B.2 Secondary Instrument The majority of musicians also reported playing a secondary instrument (86.5%). Interestingly, the top three secondary instruments reported was similar to the top three main instruments. The most popular secondary instrument was Voice (26.5%), followed by Guitar (24%) and then Piano (14%). 29

35 B.3 Genre Musicians were also asked to describe their style of music (Figure 12). The responses were grouped into common music genres. The most common responses were fairly evenly spread over several genres including Rock (15.5%), Eclectic (e.g., 3 or more different genres; 15%), Jazz (13%), Classical (12.5%), and Pop (12.5%). Other less frequently reported music styles included Folk (7%), Indie (5%), Contemporary (4.5%), World Music (3.5%), Country (2.5%), Film and Television (2%), and Other Miscellaneous (e.g., Glam Metal) (3%). Four percent of participants did not report a genre of music. Figure 12 shows the number of musicians that indicated playing each type of music genres Figure 12. Participants main style of music in genre categories. B.4 Music Achievements Participants were asked to report indicators of success and achievement in the music industry such as having their music sold or played on the radio, being awarded with accolades, receiving arts grants, performing with their role models or touring. Over ninety percent of musicians reported having obtained at least one of these key indicators of music success. The specific breakdown of musicians achievements can be seen in Figure % 80% 70% 60% 50% 40% 30% 20% 10% 0% Sold Work Radio Airplay Won Awards Awarded Grants Role Models Toured Figure 13. Number of participants recognised or honoured with various achievements. 30

36 Appendix C... Survey Descriptive Data The mean scores, standard deviations, and reliabilities for the key constructs have been reported below. Table 9. Means, standard deviations, and reliability of key constructs (N = 204). Category Construct Question Stem Measurement Scale Reliability # Items Mean sd Job Job Insecurity & How often do you 1 = Never; 2 = Rarely; 3 = Demands Career Uncertainty Workload experience? Once in a While; 4 = Some of the Time; Interpersonal Conflict 5 = Fairly Often; 6 = Often; Job Job Autonomy 7 = Always Resources Social Support Coping Problem Focused In the last 30 days, 1 = Never; 2 = Once or Strategies Positive Reappraisal have you responded Twice; 3 = Monthly; 4 = A Support Seeking to stressful situations in the following ways? Few Times a Month; 5 = Every Week; 6 = A Few Times a Week; 7 = Every Day Work and Life Outcomes Life Satisfaction How much do you agree/disagree with the following? 1 = Strongly Disagree; 2 = Disagree; 3 = Somewhat Disagree; 4 = Neither Agree or Disagree; 5 = Somewhat Agree; 6 = Agree; 7 = Strongly Agree 1 = Never; 2 = Rarely; 3 = Psychological Distress Burnout In the last 30 days, have you experienced? Once in a While; 4 = Some of the Time; 5 = Fairly Often; 6 = Often; 7 = Always Drinking Behaviour Varies by item Varies by item: Items are summed and scores ranged from 1 to 50. Intentions to Leave Industry What best describes your intentions? 1 = Definitely Not; 2 = Probably Not; 3 = Possibly Not; 4 = Inbetween; 5 = Possibly Yes 6 = Probably Yes; 7 = Definitely Yes

37 Appendix D... Moderation Graphs Figure 14. Moderating effect of job autonomy on association of interpersonal conflict and life satisfaction. Figure 15. Moderating effect of job autonomy on association of interpersonal conflict and drinking behaviours. Figure 16. Moderating effect of problem-focused coping on association of workload and burnout. Figure 17. Moderating effect of problem-focused coping on association of workload and intentions to leave industry. Figure 18. Moderating effect of problem-focused coping on association of interpersonal conflict and intentions to leave the industry. Figure 19. Moderating effect of problem-focused coping on association of interpersonal conflict and drinking behaviours. 32

38 Figure 20. Moderating effect of positive reappraisal coping on association of workload and burnout. Figure 21. Moderating effect of positive reappraisal coping on association of interpersonal conflict and intentions to leave the industry. Figure 22. Moderating effect of support seeking coping on association of workload and life satisfaction. Figure 23. Moderating effect of support seeking coping on association of workload and burnout. Figure 24. Moderating effect of support seeking coping on association of interpersonal conflict and intentions to leave the industry. Figure 25. Moderating effect of support seeking coping on association of job insecurity and career uncertainty and psychological distress. 33

39 Copyright (2015) is owned by The University of Queensland (ABN , CRICOS Provider No: 00025B). This publication may be reproduced and communicated for non-commercial purposes to the public for the purposes of fair dealing as provided by the Copyright Act 1968, as long as the work is attributed to the author and their affiliation. The author maintains their moral rights in this work. To cite this report: Parker, S. L. (2015). Results of the Musicians Well-being Survey: Creative realities for music professionals in Australia. School of Psychology, The University of Queensland. Requests and inquiries should be directed to the author of this publication. 34