The National Endowment for the Arts' 2012 Survey of Public Participation in the Arts collected data about the arts activities of more than 37,000 Americans 18 years of age and older. The report provides key arts participation figures.
Based on a survey of 1,005 English-speaking Canadians 18 years of age or older who had bought a book during the month prior to the survey (which was conducted between July and September of 2012), this report finds that only 24% knew that they had read a book by a Canadian author in the past year. In total, 43% of English-speaking Canadian book buyers were unsure whether they had read a book by a Canadian author, while 34% indicated that they knew that they had not done so during the past year.
This report from Music Canada, a non-profit trade organization that promotes the interests of its members and their artist partners, provides strategies for supporting the growth of Canada’s commercial music industry, which the report calls “a highly creative and dynamic field that has undergone massive changes with the shift to digital technologies and platforms”.
Based on interviews with 14 technology professionals as well as a literature review of evidence related to music and skills development, this report (supported by Music Canada) contends that rich music environments help attract high-technology jobs to local areas. According to the study, music helps develop many skills that are critical for high-tech workers.
Based largely on a 2011 survey of 502 music company representatives and 1,094 artists in Canada’s independent music industry, this report attempts to “determine the breadth and scope of the Canadian-owned, independent music industry as a whole and to measure its importance to both national and provincial economies”. The survey results show that total revenues of independent music companies were $292 million in 2011. More than one-half of independent music companies (60%) have less than $50,000 in revenues, and almost one-half are sole proprietorships (46%).
This academic article examines how Montreal’s historical and cultural attributes influence the development of networks among musicians and other workers in the city’s independent music industry. The study is based on 46 interviews with musicians and industry workers not affiliated with major labels. The interviewees indicated that “knowing the right people” and having a wide range of contacts were “vital” to their career development.
With 40 citations from a range of sources, this brief bulletin provides a useful summary of research findings regarding the benefits of arts education. Indicating that arts education is key “to ensuring students’ success in school, work, and life”, the research bulletin concludes that “every young person in America deserves a complete and competitive education that includes the arts”. With evidence from 23 music education research projects, a similar fact sheet indicates that “music education equips students with the foundational abilities to learn, to achieve in other core academic subjects, and to develop the capacities, skills and knowledge essential for lifelong success”.
This study examines “whether music training is associated with higher-level reading abilities such as reading comprehension” in 46 “normal-achieving” children between six and nine years of age. The study finds that “length of music training predicted reading comprehension performance even after controlling for age, socioeconomic status, auditory perception, full scale IQ, the number of hours that children spent reading per week, and word decoding skills”. Unlike previous research, the study did not find a correlation between music training and word decoding skills.
The most basic conclusion of this report from Quebec’s cultural observatory is that mothers who read tend to have children who read. The analysis is based on the Quebec Longitudinal Study of Child Development (QLSCD), a yearly survey of a representative sample of parents of children born in Quebec in 1997-1998.
This report provides “an in-depth look at the state of Canadian documentary production up to the end of 2010/11 in both the English- and French- language markets”. Many challenges related to documentary production are highlighted in the report. Most significantly, “Canadian documentary production is facing its steepest decline in production volume in almost a decade”, with a 21% decrease in production value and a 23% decrease in the number of documentary projects between 2008/09 and 2010/11.