TV‘ESI.) RETURNING MATERIALS: Place in book drop to LJBRAfiJES remove this checkout from .a-unzs-IIL. your record. FINES will be charged if book is returned after the date stamped be10w. THE COLLEGE CUETURAL SERIES AS A PUBLIC RELATIONS TOOL by Joseph Edward Yantis AN ABSTRACT OF THESIS Submitted to the College of Communication Arts of'Michigan State University in partial fulfillment of the requirements for the degree of ‘MASTER OF ARTS Department of Advertising ‘ 1966 M’W Approved by 2:7' ohn E. Mbrston dvisor and Thesis Director THE COLLEGE CULTURAL SERIES AS.A PUBLIC RELATIONS TOOL by Joseph Edward-Yantis’ Small college public relations is unique in that there is no product to promote and the hard-sell is frowned upon. Therefore, college officials must rely on interpreting the institution to engineer the desired image. A.cu1tural series is but one technique available to a small college for interpreting the goals and objectives of the institution. In this study the primary problem'was to investigate the role of the professional cultural series in the total public relations program of selected midwest colleges -- Adrian College; Adrian, Michigan, and Otterbein College; Westerville, Ohio. The study was approached from three angles including the commmnity, the student, and the administration. A two-page questionnaire was mailed to an identical number of attenders and non-attenders in the two communities. A random sample 'of over 550 students was selected from each college and a two-page questionnaire was mailed to each subject in the sample. Tape-recorded interviews were conducted with college administrators including the . President, the Deve10pment Officer, the Public Relations or Information Director, the Director of Admissions, and the Director of the Cultural Series. A.schedule was used to direct the flow of questions. Major findings of the research include: 1. Freshmen and sophomores are more active attenders of the college cultural series program than junior and seniors. 2. Female students are by far more active attenders of the college cultural series than male students. 5. Students who are admitted without charge to the cultural series as part of their student fees are unknowledgeable of what portion of their fees are allocated for the series. More importantly, student attenders felt they received their money's worth regardless of what they perceived they paid, whereas the non-attenders did not feel they received their money's worth. h. Students who hold season tickets attended a mean number of 2.9% programs out of a possible five, with juniors and seniors attend- ing more than freshmen and sophomores. 5. The majority of the students and community viewed the cultural series primarily as entertaining and secondarily as educational. 6. Community attenders held a more positive attitude toward both the college and the cultural series than did the non-attenders. 7. Education and income of community residents are positively related to attendance at cultural programs. - 8. All college administrators saw the series as performing a dual function: public relations and education. THE COLLEGE CULTURAL SERIES AS A.PUBLIC RELATIONS TOOL by Joseph Edward Yantis A.THESIS Submitted to the College of Communication Arts of‘Michigan State University in partial fulfillment of the requirements for the degree of MASTER.0F ARTS Department of Advertising 1966 Approved by jinx-Q». E W John E . Marston Advisor and Thesis Director ACKNOWLEDGEMENTS I regret that space does not permit me to thank every individual who has helped make this project possible. Many college friends and acquaintances have worked with me in preparing the questionnaires and conducting the studies. To all respondents returning completed. questionnaires and to the administrative personnel granting personal interviews, I extend my gratitude. Without their c00peration this study would have been impossible. A.8pecia1 note of thanks goes to ‘ Dr. Robert W. Brown of Adrian College and Dr. Charles Dodrill of Otterbein College for their outstanding c00peration and assistance in arranging the numerous details of this project. Words alone cannot express my gratitude to my wife Sharon, whose moral support and encouragement were the motivating forces that helped me through a trying year. Her secretarial ability was an asset in the preparation of this thesis and numerous other graduate papers. She has lived this study with me and if I could dedicate this volume to. someone, it would be to her. To‘fir. John.MMrston, employer, advisor and thesis director, I record a very special thanks. His unceasing encouragement, wise counsel and advice, plus his constructive criticism.helped me to complete this thesis, and appreciate more fully the role of public relations in today's world. ii TABLE OF CONTENTS I 101$ OF TABLES AND FIGURES O O O O O O O O O O O O O O O 0 LIST OF APPWDICESO O O O O O O O O O O O O 0 O O O O O O 0 CHAPTER I. INTRODUCTION AND BACKGROUND . . . . . . . . . . . The Problem Why Look at the Cultural Series Definition of Terms Review of the Related Material Background and Cultural Climate of Sample Schools Thesis Goals and Objectives A Preview of What is to Come II. RESEARCH METHOD AND PROCEDURE. . . . . . . . . . . Customer's VieWpoint Administrations' VieWpoint Analysis of the Material III. FINDINGS FROM THE CUSTOMERS. . . . . . . . ’.' . . Findings from the Communities Findings from the Students IV. FINDINGS FRM THE WINISTRATION s o s s' o o o o o v. SWY AND SUGGESTIONS O O O O O O O O O O O O 0 Summary Hypotheses Tested Suggestions for Future Research Concluding Remarks BIBLIOGRAPHY O O O O O O O O O O O O O O O O O O O O O O O APPENDH. O O O O O O O O O O O O O O O O O O O O O O I O 0 iii Page iv vi 12 16 23 27 27 29 30 37 59 hl 54 69 83 83 89 91 FIGURE .TABLE 10 11 12 13 LIST OF TABLES AND FIGURES Attitudinal Relationships Between College and Cultural Series for Attenders and Non-Attenders. . Number and Percent of High School Graduates Entering College 0 s s o s s s s s e s s s o s 0 Growth of College Enrollment in U.S. and SCIECted States 0 s o s s s s s o s s o s s s 0 Comparative Facts of Sample Schools. . . . . . . . Number and Percent of Returned, Usable QUBStionnaires.oeosssassesses... Distribution of Returned Student Question- naires by Rank, Sex, and Sample. . . . . . . . . Income of Attenders and Non-Attenders by College . Amount of Education (Highest Rank) for Attenders and Non-Attenders Per School . . . . . . . . . . Where Community People Receive Information about the Colleges sis e s s s s s s s e s s s s o s s Connotative Meaning Elicited When the Name of the College is Mentioned. Reported in Per- centage of Attenders and Non-Attenders . . . . . How is the Series Viewed by Community Attenders and Non-Attenders s o o s s s s s s s s s s o 0 Relationship between Percent of Total Enrollment and Percent of Total Returns by Rank and School. Student Attenders and Non-Attenders by Rank and sex. 0 s s s e s o s s s s o s s s s e s s s The Function of the Cultural Series by Rank and SChoo 1 O O O O O O O O O O O O O O O O O O 0 iv PAGE 52 PAGE 2h 1+0 #2 1+5 1&7 50 55 56 58 TABLE 1h 15 16 17 18 Reasons Given by College Students for not Attending Cultural Programs or Purchasing Season TiCkEts (Non-AttenderS) o s e s o o o 0 Number of Programs Attended by Student Season Ticket Holders at Adrian College . . . . . . . Programs Liked Most and Liked Least by Student Attenders for Adrian and Otterbein . . . . . . Relationship between What Students Think They Pay for Cultural Series and Whether They Feel They Receive Their Money's Wbrth, by Attenders and Non-AttenderS. o s o s s s s s s e on s s o Suggestionsoffered for Improving the Cultural Series in Percentages by Schools . . . . . . . PAGE 60 62 63 '65 57 LIST OF APPENDICES APPENDIX PAGE A Appeal for Information on Thesis Subject . . . . . I 9% B Sample Letter Requesting Information from Talent Agencies .. . . . . . . . . . . . . . . . 95 C Student Questionnaire. . . . . . . . . . . . . . . 97 D Community Questionnaire. . . . . . . ... . . . . . 100 E Second Otterbein Questionnaire . . . . . . . . . . 102 F _ Letter Accompanying Second Otterbein Student Questionnaire . . . . . . . . . . . . . . . . . 10% G Schedules for Administrative Interviews. . . . . . 105 vi CHAPTER I INTRODUCTION AND BACKGROUND There exists in today's society what is commOnly called a "cultural explosion" and American colleges and universities are taking a leading role in the full development of this eXplosion. College concert managers are accepting the challenge to extend cultural Opportunities to both students of their colleges and to residents of their community. Some managers view their responsibility only as "co-curricular" but the author of this thesis views the cultural programs on today's college campuses as a dynamic public relations tool. I. The Problem The purpose of this study is to investigate the role of the pro- fessional cultural series (lecture-concert) in the total public relations program of two selected midwest colleges. On the surface, the cultural programs sponsored by these colleges may appear to be primarily educational in nature. However, this thesis will attempt to show that in addition to their educational value the programs have a definite public relations value for small private colleges. To study this problem it will be necessary to review the public relations programg,including their structure and function, in the selected colleges. It will also be necessary to study the cultural climate of each college and its community to ascertain the need of college involve- ment. This report will also try to demonstrate that cultural programs help colleges to fulfill their goals and objectives. 2. II. Why Look at the Cultural Series “There are more than 2,000 institutions in the United States that call themselves colleges or universities. Some of them rank among the greatest centers of higher learning in the world; others do not bear comparison with good high schools....Some are church-affiliated, some are secular. Some offer only the liberal arts; others are essentially trade schools."1 With the vast number of colleges, it is becoming Aincreasingly important for each to clearly specify through interpretation what it stands for in the field of higher education. College public relations men and women have been assigned the reaponsibility of interpreting the philosophies of their institutions and of higher education in general to the various publics. This para- mount undertaking cannot be done solely through written communications. Instead, interpreting the philosophy of the college must be approached from.every conceivable angle. This, of course, includes all special events such as a cultural series. Charles A. Schoenfeld says that college "public relations is the sum total of all the impressions made by an institution itself and the various persons connected with it. Public relations, therefore, is a way of life for the entire university - not just the job of a single individual."2 1Carnegie Corporation of New York Quarterly, "The Invisible Thread: A University's Reputation," Vol. XIV, No. 1 (January, 1966), p. l aMelvin G. Scarlett, "Who is ReSponsible for College Public Relations," College Public Relations Quarterly (April, 1956), p. 31, citing Charles A. Schoenfeld, The University and Its Publics (New York: Harper and Brothers, 1957). 5. Therefore, the image of an institution is built by every act and action of the college and the people associated with it over a long period of time. In today's age of mass education, interpretation is more important than ever before. In an article titled "Student Selection by Image," John T. Bernard reports: "The impression that a college projects of itself to the public is often strong enough to determine the type of student which shall enroll at that particular institution."5 Applying this same philosOphy to other aspects of higher education we could pre- dict that a clear image could facilitate the recruitment of faculty, securing financial support and enlisting alumni support. Bernard also said that "it is admittedly easier for a private institution to develOp a sharp and prominent image than for a public institution to do so. Generally speaking, a public college must appeal to a wide variety of interests in the community."u Through proper selection of talent for the small college cultural program a sharper image shou ld evo lve . "Education in America is the public's business and each college must adjust itself to its environment if it is to survive,"5 according to Clarence A. Schoenfeld. Private colleges today rely on the public's support for their endowment and other forms of financial assistance. 5John T. Bernard, "Student Selection by Image," Pride (March, 1961), p. 16. thid., p. 17. 5C1arence A. Schoenfeld, The University_andjlts Publics (New York: Harper and Brothers, 1957), p. 235. A. Business and industry are also vital elements in the financial support of higher education and therefore deserve complete interpretation of how their money is being Spent. Francis Pray says, "There exists a high degree of suspicion between business and industry on the one hand and higher education on the other."6 "The present gulf between business and education is wide and deep," reports Abel Hansen. "Only through intelligent public relations on both sides of the chasm can a sturdy bridge of understanding be built to carry the requisite two-way traffic of ideas and interests."7 'Here again is ample reason for interpreting institutions of higher learning to the public through every available means. Between the years of 1955 and 1957 an increase of $550,000,000 to a total of $655,900,000 was contributed by non-governmental sources to a total of h81 private colleges.8 In 1959 an estimated $955.2 million was contributed in the form of private gifts and grants to higher education exclusive of junior colleges.9 Without this support some colleges would have been forced to charge higher tuitions and price themselves out of the market. At the present time, the national average of contributions to all charitable organizations including education by business is 1.1 percent, 6Francis C. Pray, "The Need to Interpret Our Freedoms," College Public Relations Quarterly (April, 1955), p. 5. 7Scott M. Cutlip, "The Two-Horned Dilemma of the College," Public Relations Journal (September, 1950), p. 11, citing a well-documented article by Abel Hanson in the January 1950 issue of the same publication. 8Council for Financial Aid to Education, Inc., Voluntary Support of American Colleges and Universities 1956-1951, Chart 1, p. 5. 9Council for Financial Aid to Education, Inc., Veluntary Support of American Colleges and Universities 1959-1969, Chart 1, p. 6. 5. whereas the federal government permits deductions of up to five percent of net corporate income for contributions to charitable and educational organizations.10 If colleges and universities could "cash-in" on some of this reservoir of financial support, higher education could make notable strides forward. In a speech before the Association of College and University Concert Managers' (ACUCM) annual meeting on December 16, 1960, Edward L. Bernays, a public relations consultant and member of the board of directors of Carnegie Hall, said "The potent forces in our country are four-fold, political, economic, cultural and educational."11 He also stated that through cultural exchange on an international basis we have been able to build better relations and understanding as well as stimulate foreign trade.12 It therefore holds that if nations can be drawn closer together through cultural exchange, educational institutions can help bridge the gap between business and industry on the local level through cultural programs. The Community's Craving Charles R. Estill reports that "Regardless of the size of a college or university, it is important that there be harmonious relations with the local community. In the case of the small or medium sized college 10George Alan Smith, "Who Gives a Dollar for Art?" Public Relations Journal (March, 1966), p. 1%. 11Association of College and University Concert Managers Bulletin, Vol. L, No. 1, (January 18, 1961), p. 15. 12Ibid. 6. located in a rural community, it is vital that such relations be good."15 He continues by saying "As is often the case, people in town seldom know very much about the college in their midst."1h 'Since it is essential for the college to establish a healthy relationship with the community which it serves, college public relations practitioners must interpret the institution to the local populace. By encouraging the residents of the community to take advantage of the offerings of the college a rapport can be developed. It is important that college public relations be attuned to the wants and needs of the community. In other words, public relations involves listening as well as talking. The college must, at times, go out of the way to give the community what it wants in return for its support. This might be in the form of adult education, granting the use of facilities or offering an outstanding cultural program. In a study of community power in Bloomington, Indiana, the home of Indiana University, it was found that the community leaders said "...we of the town look to the university to provide culture... and entertainment."15 Small liberal arts colleges in a rather isolated community have a greater obligation to provide a cultural outlet than a college in a larger metropolitan center. In the small-town college situation the 1ficharles R. Estill, "Organizing a Support Group," Pride (February, 1959): P0 15- lulbid. 1SDelbert C. Miller, ”Town and Gown: The Power Structure of a University Town," College and University Journal (Summer, 1965), p. 28. 7. people are often many miles from the nearest cultural center such as Detroit, Cleveland or Columbus. 0n the other hand, institutions of higher learning located in big metropolitan cultural centers have a lesser obligation because of the ready availability and wide variety of cultural Opportunities already present. This by no means implies that colleges in the larger cities do not Sponsor cultural programs. The contrary is true. They sponsor programs to supplement the existing market, and to enhance their academic reputation in the community. As mentioned earlier, cultural programs are a means by which institutions can interpret their educational philosophy to the community. Thomas P. Nickell, Jr., in an article entitled "Interpreting the Institution to the Public" said: I look upon the means by which public relations programs are carried out as falling into four general categories. First of these is personal contact. The second general category is publications and documents.... A.third general category of means by which public relations programs are carried out is by Special services and events. Normally, these include cultural programs, institutes' and forums for the general public and for Special groups or professions. The mass media constitute the fourth 6 means of communication available to the college or university. A college cultural series can help fu1f111 the requirements set forth by Nickell in two ways. In the first place the community people attend- ing the programs are exposed to the college on a personal basis. In the second place community understanding can be gained through the special events such as the cultural events. 16Thomas P. Nickell, Jr., "Interpreting the Institution to the Public," College and University Journal, Vol.11, No. 2 (Spring, 1965), p. #5. CollegejSelection With the ever increasing number of high school graduates continuing their education in colleges and universities (see Tables 1-2) it becomes important to know the selection patterns of these students. Actually the selection process is a two-way street. A good student is often accepted at several different colleges at one time and it becomes his reaponsibility to select the one college best suited to his interests, personality and scholastic background. The student must consider a number Of factors: geographic location, cost, prestige Of the institution, course offerings and co-curricular activities such as cultural oppor- tunities. Selection also takes place in the college admissions office. Admission officers would like to attract all A students but this is not always feasible or desirable. Though the final selection must rest with the student, the admissions officer will try to "sell" his institution to the student in every possible way. Offering scholarships, citing the size and student-faculty ratio, and outlining the co-curricular activities such as the cultural Opportunities, are but a few Obvious avenues Open to admission counselors for "selling" the institution to prOSpective students. The image created by the college can have a positive effect on the type of students attracted to the institution. The Carnegie Corporation Quarterly reports that ”Like prOphecies, college images can be self- fulfilling. They have powerful reach and pulling power, drawing some kinds of students and repelling others."17 Through a well developed 17Carnegie Corporation of New York, loc. cit. TABLE 1 NUMBER AND PERCENT OF HIGH SCHOOL GRADUATES ENTERING COLLEGE Actual Number of High School Percent of Total Year Graduates who are College Entrants High School Graduates 1959 V 581,000 31 1950 517,000 #5 1955 657,000 A 118 1960 950,000 50 1962 1,058,000 - 5b * Source: Earl J. McCrath, Universal Higher Education (New YOrk: McGraw-Hill Book Company, 1966), Table l, p. 1&2. . TABLE 2 * GROWTH OF COLLEGE ENROLLMENT IN U.S. AND SELECTED STATES Number enrolled Percent Increase Fall 1965 over Fall 1962 United States . All Students h,765,867 7.7 First time entrants l,h6o,hl7 1.5 Michigan All Students 208,210 6.9 First time entrants hl,112 h.l Ohio All Students 220,280 6.1 First time entrants 51,h55 5.7 * Source: Office of Education, Department of Health, Education and Welfare, Digest of Educational Statistics 196g, p. 75. 10. cultural series, and every other activity, the college can, over a period of time, develop the image it desires. Alfred T. Hill reports that "the small college of the future must have an image and a voice of its own. It must stand clearly for certain areas of education that are its unique province, where it can do better than the Land Grant colleges, or the Junior Colleges or the 'Mother * University.”18 Here, as in preceding instances, the public relations role of interpretation becomes of prime importance. Publicity From a publicity vieWpoint the small college is at a disadvantage. Unlike the larger state institutions little publicity emanates from.the small college public relations office which is Of critical importance. "A large school naturally attracts notables who are news. It is the place of the public relations director of small colleges, however, not only to write publicity but Often to create it."19 Sponsoring a cultural series is but one way to create news for the small college. It is a good way since it creates news deserving coverage. In the first place a cultural series brings to the campus persons and attractions of national repute. These visits by "celebrities" are probably the only exposure some of the local people will have to such 18Alfred T. Hill, "The Future of the Small College and the Small College of the Future," College and University Journal, V01. 2, NO. 1 (Winter, 1963), p. 55. 19John J. Conron, "Small College Public Relations," Pride (June, 1957)) P0 17- 11. famous peOple. Therefore, the local radio station and neWSpaper will try to carry information about the artists. The cultural program.may attract several hundred local people to the auditorium for the concert or lecture and thereby provide justification for the local media to carry publicity about the event. Publicity on artists, lecturers, or attractions is not only local. The mass media from "out-state" will also carry information if the attractions are widely known or of international reputation. Section Summary I In the preceding section it has been established that a college cultural series can be a vital part of a small college public relations program. We have seen that through the college cultural programs the public relations director is able to interpret some of the philosophies Of his institution. It was also established that the community looks to the college for cultural Opportunity and that the community is an important public. College selection by high school seniors is a complex process and the co-curricular activities of a college is one facet taken into account in the selection process. The publicity value of a college cultural program is far reaching and can help create a healthy local relationship between education and business and industry. Cultural activities, then, can be the start of a bridge of understanding between the college and its various publics. One concluding point should be made at this time to further establish the need for such a study as presented in this thesis. Bernard Berelson reported that better educated groups pay attention to serious communication 12. far more than the less educated. College graduates form about 8.5 per- cent of all American adults yet they utilize 25 percent of the distributed culture.2O When one appreciates that colleges today are building tomorrow's leaders, the subject of college cultural programs begins to take on a new aura of importance. III. Definition of Terms In any communication process words and/or symbols are selected to convey meaning primarily to the communicator. But, as David K. Berlo says: ”Meanings are in peOple. They are the internal reSponses that peOple make to stimuli, and internal stimulation that these responses elicit."21 We can only communicate by using words that elicit the desired meaning in the minds of the receiver. In this section the author will try to establish a mutual understanding for several terms unique to this report. Liberal Arts College There are perhaps as many different definitions of the term "liberal arts" as there are person defining it. To many it means a "broad, general education," but to the United States Office of Education the term is defined as an "Institution in which the principal emphasis is placed on 2OBernard Berelson, "In the Presence of Culture," Public Opinion Quarterly, Vol. XXVIII, No. 1 (Spring, 196%), p. 9. . 21David K. Berlo, The Process of Communication (New YOrk: Holt, Rinehart and Winston, Inc., 1960), p. 18%. 15. a program Of general undergraduate education."22 These definitions tell very little about liberal arts because they use ambiguous words. Perhaps the best definition for liberal education is offered by Hoyt Hudson of Stanford, California, who says: "I begin my definition by recalling the root word, 1323;, from which the term liberal is derived. The Latin word libgr meant a free man. A.1iberal education is a freeing education; it frees a young person from.something and for something. It frees him, or should free him, from ignorance, intolerance, and superstition, from narrowness and parochialism. It frees him for citizen- ship in the realm of the intellect."25 For use in this report this latter definition is more apprOpriate. Professional Cultural Series An integral part of a liberal education is the exposure to and the appreciation of the fine arts such as dance, drama, vocal and.instrumental music. To help fulfill this objective, colleges and universities make contracts for the appearance of individuals or groups proficient in Specific areas of the fine arts. These groups or individuals are paid substantial fees ranging from under two-hundred dollars to over five thousand dollars for a one-night stand. The colleges pay these fees for the artist to come to the campus to demonstrate or perform their talent. 22American Council on Education, Higher Education in the United States (washington, D.C., 1965), p. 28. 23Hubert C. Heffner, "Theatre and Drama in Liberal Education," Educational Theatre Journal (March, 196A), p. 18. 1h. The word series implies that there :is more than one such program during a given period of time, usually one academic year (September through May). Professional means that the artist makes his living through performance of his talent. Some examples of professional talent may help clarify the term: the Cleveland Orchestra, Goldovsky Grand Opera, Jose Iturbi (pianist), Virgil Fox (organist), the National Ballet of Canada, Mara Costa (soprano), and the Juilliard String Quartet. There are literally hundreds or thousands of such professional groups and individuals who perform before audiences for pay. In sum, a professional cultural series consists of a number of talented performers in the fine arts who are paid to demonstrate their ability before an audience. A series must include several such individuals or organizations performing on separate occasions for the education, enjoyment, and enlightenment of the audience. Attenders In this study the attenders are those people who actually attend the professional cultural series. There are two classes of attenders cited in this study. Community Attenders. Community attenders are those individuals, other than students of the Specific colleges being studied, who indicated an interest in cultural events by purchasing season tickets for the series. It is assumed that if a person actually uses his own money to purchase a season ticket he will make every effort to attend the programs. 15. For this study the attenders were all drawn from a list of season ticket holders for the 1965-1966 cultural series. Student Attenders. Student attenders for this study will be defined in two ways because of the different policies of the schools studied. Four hundred season tickets are reserved for Adrian College students to purchase at a reducedrate of five dollars on a "first-come- first-serve" basis. To accommodate those Students who wished to attend programs but were unable to do so because of the ticket limitation, the college established a ticket exchange system. This systemrworked as follows: student season ticket holders who were unable to attend any given program could remit their ticket for that Specific program.and it would be resold for one dollar (representing the exact amount the season ticket holder paid for the ticket) to a Student who did not hold a season ticket. The money was then remitted to the season ticket holder. Student attenders at Adrian therefore, include all season ticket holders and any students who were not season ticket holders but did manage to attend at least three different programs. 4 At Otterbein College a portion of the student's fees was allocated to the cultural series and all full-time students were admitted without extra charge by presenting their student identification. Therefore, students at Otterbein must be classed as attenders on a different basis. For the purpose of this study, students who indicated that they had attended at least three programs or who had attended two and planned to attend the last program of the season were considered attenders. There were a total Of five programs on the Artist Series at Otterbein 16. and therefore by attending three the student would have been present at over fifty percent of the events. Non-attenders Again, we have two different groups Of non-attenders cited in this Study. Community Non-attenders. A more detailed eXplanation of how the community non-attenders were selected will be presented in the chapter on "Method and Procedure." For our present discussion the community non-attenders included all non-seasOn ticket holders. Student Non-attenders. In this study the student non-attenders include all the Adrian students who did not purchase a season ticket and attended less than three out of the five performances. The Otterbein student non-attenders include all students reSponding who attended less than three out of the five programs on the Artist Series. IV. Review of the Related Material Following a thorough and intensive investigation of possible sources in the Michigan State University Library, this author is convinced that he is ploughing virgin soil. No material on the professional cultural series could be found that directly related to the subject in any of the following sources: theatre journals, public relations journals, educational journals or the New York Times. This reporter does not imply that no material has been written on the subject, but rather that no useful material could be located. 17. In addition to library investigation this reporter also conducted some external research. An appeal for information was mailed to Mr. John W. Leslie, Executive Vice President of the American College Public Relations Association (ACPRA). He was unable to suggest any possible source of information. Throughout the course of this study a constant exchange of letters continued between the author and representatives of the Association of College and University Concert Managers (ACUCM). All correspondence regarding possible sources of related information was to no avail. In January (1966) the author requested and received Space in the ACUCM Bulletin for the purpose Of reaching over three hundred college concert managers with an appeal for help.2u Not a single response was received. In addition to this appeal, personal letters, and conversation with college concert managers produced no results. 25 Letters were mailed to four New York booking agents requesting information on available published material and other Specific information.26 Replies were received from three of the agencies but none could direct the author to published material. However, other pertinent information was Offered. Following are excerpts from the two letters that answered the Specific 2MA copy of the news release, as printed in the ACUCM Bulletin may be found as Appendix A. 25The four include Colbert Artists Management, Columbia Artists Management, Ken Allen Agency, and Herbert Barrett Management. 26A copy of the letters may-be_found as Appendix B. 18. questions for information on cultural series in institutions of higher learning: Anne Polzer reported that "There is a definite 'culture explosion' "27 everywhere. Leverett Wright, Vice President of Columbia Artists Management Inc. wrote the following: There has definitely been an increase in the number of colleges using professional entertainment. Broadly, I would say that this is a result of the pOpulation explosion and the economic prosperity of the United States. There has, of course, been a huge increase in sheer number of college students; the amount per student available for the import of professional entertainment to the campus need not have changed at all -- but the total figure has, of course, grown tremendously. I also feel that the universities and colleges have expanded their functions within past years and think of themselves more than previously as cultural centers for the communities in which they are located; and as such they feel a responsibility to pre- sent cultural events not only for the students but for the larger environment. The "larger environment” has also more of an appetite for this sort of entertainment, provoked as it has been by the increased availability of tapes, records and the like. Finally, college campuses are more accessible to artists, due to modern rapid transportation, and in consideration of this fact and the general interest in and emphasis on all phases of education, more artists are willing -- even eager -- to make themselves avail- (able for college bookings.28 Mr. Wright estimated that colleges and universities spend in the neighborhood of eight million dollars annually on talent. .He also said 27From a personal letter addressed to the author by Anne Polzer of Colbert Artists Management, dated July 12, 1966. 28From a personal letter addressed to the author by Leverett Wright of Columbia Artists Management Inc., dated June 28, 1966. 19. that Columbia Artists Management, which is the largest booking agency in New York, derives about one-third of its gross income from booking talent with colleges. This amount is about three or four times that of ten years ago. Both Mr. Wright and Mrs. Polzer report that there is a trend in the type Of program desired by college audiences. ”The most noticeable trend in type of program desired," said Mr. Wright, ”is a preference for group "29 attractions...over solo artists. Colbert Artists Management also noted this same trend but add one other development, ”This one having ‘ . . . 50 started maybe one or two years ago, 18 the grOW1ng interest in lieder. Whereas only a short while ago, lieder recitals were considered hope- lessly high-brow, audiences have come to see how rewarding such programs "31 are and what strong appeal they actually have. Two Somewhat Related Studies Ferris State College Study. A study conducted by Ferris State College (Michigan) of eleven state-supported institutions and sixteen private colleges yielded some interesting information on cultural program offerings of four-year colleges in the State of Michigan. Following is a brief summary of the study which was structured in terms of Ferris' needs. 29Ibid. 50Lieder is the plural for the German word lied, meaning music. Therefore, a lieder is a German lyric or song. 31From a personal letter to the author by Anne Polzer of Colbert Artists Management, dated July 12, 1966. 20. When asked, "Does your school Sponsor some type of Lecture/ Concert Series?", one state-supported institution reported they did not, five reported they have both lecture and concert series and four reported they offer separate concert series. The private schools reSponses to the same question indicated that four schools offer only a lecture series, five schools offer both a lecture and a concert series and three schools offer a separate concert series. Only one private school reported no program of this type is offered.52 Six state supported and six private institutions report that their programs are free of admission charges to students. One state supported school and six private schools indicate that some charge is levied for the cultural programs. The remaining state and private colleges reported that some of the programs have no admission charge while other programs do. The report also stated that dollar allocation ranged from $0 to $180,000 for the eleven state-supported institutions. In the private schools three out of the sixteen reSpondents allocated between $10,000 and $15,000 for the cultural series, and one between $15,000 and $20,000.3h The question, "In general, do you think undergraduate students seek out the type of programs which are presented?", was answered in the affirmative by all of the state-supported schools but four who indicated their program was "only fairly well" sought out by students. To the same question, private schools were evenly divided between "fairly well sought" and "quite well" on their responses. The majority of all schools rejected the idea of "required attendance” as a means of improving the over-all program attendance.55 "Eight state schools and eleven private schools have a committee .56 serving as the reSponsible agency for the school's cultural program. The report also stated that such committees are composed of both faculty 32Ferris State College, "Analysis of the ReSponses to the General Education Assembly Committee Questionnaire,” 1966 (a mimeographed report with limited circulation), p. 2. 55Ibid., p. 5. 31+Ibid. 55Ibid., p. h. 56Ibid. 21. and Student members. ”In only four state schools and six private schools are the committees reSponsible for organizing and promoting the programs.“37 MSU Student Attendance at Co-Curricular Activities. A recent study conducted by the Educational DevelOpment Program at Michigan State University has yielded some interesting finding on student attendance at co-curricular activities. Such activities are defined as those campus events designed to extend, reinforce or compliment academic experiences. Even though this study was conducted on a large state- supported campus some of the major findings may be applicable to small private colleges. The report summarized that: When prOperly deve10ped, these co-curricular activities not only provide maximum training for the participants but also con- tribute to the general cultural environment of the educational institution. In order to deve10p a cultural climate, an institution must spend large sums Of money as well as con- siderable organizational energies.5 Over 25,000 MSU students were sent a co-curricular activities inventory list including 46 major events open to the public and attended by over one-thousand students. The students were asked to indicate the number of times they attended or planned to attend each event during the school year. Over 18,000 students (71%) returned the inventory. The students were asked to supply their student number on the return which 571bid., p. 5. 58Educational DevelOpment Program, Michigan State University, "Report No. 6, 5/2/66" relating to Project Report No. 501 "Student Attendance at Co-Curricular Activities,” December, 1965. Cited from page 1 of summary report. (Mimeographed) 22. permitted the matching of the students' reSponses to their master d.39 recor #0 A summary of the researchers' findings are listed below. 1. There are four major kinds of co-curricular events; cultural, athletic, musical and social. 2. Freshmen and sophomores are high attenders at social events and graduate students are low attenders. 5. Freshmen are relatively low attenders at cultural events whereas the seniors account for a relatively high percentage of attenders. A. Most of the attenders at athletic events are Single men and over half of the attenders at social events are women. 5. Married students are low attenders at all major co-curricular events. 6. Attenders of cultural and musical events have a higher grade point average than the high attenders of athletic and social events. 7. Liberal arts students are likely to attend cultural and musical events and not attend athletic events. Other Semi-related Material GeOrge Allan Smith, executive administrator of the American National Theatre and Academy, presented a vivid picture of corporate giving to the arts in an article entitled "Who Gives a Dollar for Art?". The article which appeared in the March 1966 issue of the Public Relations Journal lists a number of different ways by which business and industry can - support the arts. Colleges and universities could possibly encourage 59For a complete report of this study please refer to Michigan State-University Educational Development Program Project Report No. 501. uOIbid., pp. 5-4. 25. corporations to support cultural activities in the local community, through applying some of the recommendations listed in the article. Although not directly related to this study, a number of articles have been written in public relations journals regarding the role of interpreting the educational philOSOphies of institutions. Indirectly, these articles all tend to emphasize the importance of using every avail- able means to create the desired image in the minds of the various publics. Surely then, the cultural series must be classed among the available means. V. Background and Cultural Climate of Sample Schools At the outset of this study, it was concluded that only two schools would be used in the sample. Selecting the schools therefore became an important factor. It was previously agreed that one Of the sample schools would be Adrian College.l‘L1 One point which the author wanted to cover in this study was whether the geographic location (proximity to a major cultural center) had any influence on the college cultural program as it relates to the students and community. After considering several liberal arts, church-related, private, coeducational institutions it was decided to select Otterbein College in Westerville, Ohio. A number of other comparative facts on the two schools are indicated in Table 5. thhe author worked for three years in the public relations depart- ment of Adrian College prior to commencing graduate work. TABLE 3 2h. COMPARATIVE FACTS 0F SAMPLE SCH00L3* Name of College Adrian College Otterbein College Located Adrian, Michigan Westerville, Ohio Liberal Arts (coed) Yes Yes Church Supporting Methodist Evangelical United ' Brethren Size of Campus 105 acres about ho acres Number of Buildings 55 about 55 -Annual Budget (65-66) $2,h00,000 (approx.) $2,157,910 Enrollment 1965-66 Full-time students ** only 1,290 1,80h _% of total %40f total Freshmen 5AA 42.17 #56 52ih7 Sophomores 5&5 26.75 558 25.h9 Juniors 227 17.59 306 21.79 Seniors 17% l5.h8 284 20.22 tot. 99.98 tot. 99.911. Total Enrollment 1960-61 852 1,221 1955-56 375 787 Approximate attend- ance at events other than cultural series. Football games Basketball games Film Series Student Drama Visiting lectures 2000 per game 800 per game 500 per night 550 per night 250 per Speaker 5100 per game 1800 per game 500 per night 566 per night --- no answer given Source: This material was gleaned from.various sources including a questionnaire supplied to the director of public relations, annual reports, college catalog, etc. 99!- Annual Report - Otterbein College, October 29, 1965, Table 2, p. 113. 25. Adrian is somewhat isolated from the direct influence of a major cultural center. It is a small-industry, farming town of 22,000, located about 75 miles southwest of Detroit and about 55 miles northwest of Toledo, Ohio. Therefore, some driving distance is required for residents and students of Adrian to attend cultural programs outside the community. Adrian College has undergone tremendous expansion within the past decade and with this eXpansion was able to expand its cultural oppor- tunities. In addition to the professional cultural series the college has sponsored student drama and music productions and an adequate art department which has made available a number of art diSplays. The community has enjoyed a community concert series since the early 1950's. Siena Heights College, a Catholic girls school, is also located in Adrian and sponsors a number of cultural programs ranging from lectures to music and art exhibits. There is a well-organized public relations department at Adrian College which employs three men: one for alumni relations and placement, one director of news and publications, and the director of special services, Dr. Robert W. Brown, who is reSponsible for special events including the Celebrity Series. On the other hand Otterbein College is located about ten miles northeast of Columbus, Ohio in Westerville, a suburb with a population of 9,000. Many of the residents of Westerville work in Columbus and take advantage of the abundant cultural opportunities in the capital city. By using the freeway system in Columbus, residents of Westerville can commute to the center of Columbus within fifteen minutes. 26. Although Otterbein College is located near a rich cultural center, the college sponsors a number of cultural programs. In addition to the Artist Series the College Sponsors a Festival of Arts series, a Lecture- Convocation series, the Otterbein College Theatre productions and a number of campus-centered music events and art exhibits. At one time, the community of Westerville Sponsored 3 concert series. Later, the College joined in Sponsoring this series but more recently the series .has been virtually discontinued. At Otterbein,there is no central public relations office. Instead, there is a College Information office which operates as a news bureau and publications office. There is also a director of alumni and church relations who reports to the Vice President in Charge of Development. The reSponsibility for the Artist Series is assigned to Dr. Charles Dodrill, Director of Theatre and Special Events. Both colleges have made cultural contributions to their communities for many years but for the purpose of this thesis only the professional cultural series will be investigated. The series at Adrian is called the Celebrity Series and at Otterbein the Artist Series. Adrian began Sponsoring the cultural series in 1965, whereas the series at Otterbein has been in existence for a considerably longer period of time. (Dr. Dodrill reported in a tape-recorded interview with the author that Otterbein College has had a cultural series of some sort since the early 1870's.) 27. VI. Thesis Goals and Objectives We have established in the previous sections of this chapter that the function of college public relations is to aid in securing friends, freshmen and funds through clear interpretation and the creation of an image.‘ A college cultural series can be a useful tool in the fulfillment Of this function. Therefore, in light of the relationships mentioned previously, the intention of this thesis is to determine, among other things, whether: 1. 2. Juniors and seniors will be more active attenders of college cultural programs than freshmen and sophomores. The majority of the students and community will view the cultural programs as entertaining as opposed to educational. College administrators view the cultural series as primarily a public relations tool. Attenders hold more positive attitudes toward the college and the cultural series than non-attenders. Students admitted free to concerts are unaware of what portion of their fees is allocated for their admission to the cultural series. Those students who think they pay more than they really do feel that they receive their money's worth more Often than students who underestimate the amount allocated. Education and income of the residents of the community will be positively related to attendance at the cultural series. VII. A Preview of What is to Come Chapter I has been devoted to laying the foundation on which to build the remainder of this thesis. This foundation has covered con- siderable territory and warrants an explanation of what is to follow. 28. Chapter II will be devoted to explaining the techniques used in this study. Findings from the customer's point of view will be outlined in Chapter III and Chapter IV will compare the comments of college administrators on the subject of public relations and the cultural series. The fifth and final chapter will be used to draw conclusions, test hypotheses, and offer suggestions for future studies in the field. CHAPTER II RESEARCH METHOD AND PROCEDURE This Study is primarily involved with the investigation of attitudes toward the small college cultural series as it relates to public relations. Due to the limitations.of time and money, this study will be concerned only with the situation at two liberal arts colleges - Adrian College, Adrian, Michigan, and Otterbein College, Westerville, Ohio. It was felt that an intensive study could be undertaken by limiting the survey to only two schools. The first chapter outlined the criteria for selecting the colleges. After selecting the two schools to be studied, personal contact was made with the director of the cultural series at each school to obtain his permission to use his institution in the study. He was fully briefed as to what the author planned to do and asked to clear the proposal with prOper administrative officials. Both men assured the author in writing that their schools would extend their full c00peration in undertaking this Study. In a cultural series there are two interests. 0n the one hand, there is the customer's point of view including students and community. On the other hand, there is the administrative point of View including a number of persons directly associated with the cultural series and public relations in general. It was decided early in the plans for this study to investigate both aSpects. In this chapter the methods and procedures used to obtain and evaluate the data collected in both parts of the study will be discussed. The 50. first part of the discussion will focus on the customer's point of view and the second segment will deal with the administrative point of view. I. Customer's ViCWpoint We are concerned with basically two different consuming publics - the student public, and the community public even though there are probably many more publics connected with presentation of a cultural series than the two listed. The student customer includes all full-time students working toward a bachelor's degree in the institution. These criteria make no dis- tinction between Student attenders and non-attenders because theoretically all students are potential customers of the cultural series. The community customer classification includes all persons, other than students, who have access to the cultural series. This classification includes: faculty, staff and administration of the college in addition to citizens of the community, high school students, students from other colleges, etc. No distinction is made at this point between attenders and non-attenders, because everyone (other than a student from the specific college) is in theory a potential community customer. How were the samples drawn? Student sample. From a table of random numbers a list of #00 numbers ranging from one to 1,500 was compiled. This would give more than one out of every four students (26.6%) an opportunity to participate in the study if theretwme an even 1,500 students in each school. Next a student 51. directory was obtained from each school and each name was assigned a number in chronological order based on the alphabetical order. The random numbers were then matched with the alphabetical list ordering to produce the sample. As mentioned earlier if there were an even 1,500 students in each college the four-hundred numbers would produce a sample representing 26.6 percent of the total student body. However, the enrollment in each school was not identical and neither school had an exact number of 1,500 students. The full-time student enrollment at Adrian was 1,290 (based on the autumn term 1965 enrollment figures supplied by the registrar) and Otterbein's enrollment was l,h0h. The sample at Adrian included 556 students or 26.5 percent of the total enrollment. At Otterbein, 578 students were in the sample drawn and represented 26.9 percent of the total enrollment. As can be seen, the percentages are almost identical even though a different number was used as a base population. Community sample. For a study of this nature it is important to secure a sample which would include a fair number of attenders who could Speak intelligently on the subject. So rather than selecting a random sample of the community, the author felt justified in structuring the sample to include an exact number of attenders and non-attenders. It was decided to survey 20 percent of the attenders (or season ticket' holders). A list of the season ticket holders was obtained from each college and the names arranged in alphabetical order. Each name assigned was 52. given a number in chronological order. Twenty percent of the total universe yielded a sample size of 69 at Adrian and 21 at Otterbein. There were 5M6 names on the mailing at Adrian and 106 at Otterbein. It should be noted here that most of these ticket holders actually held two or more tickets. An exact number of random numbers was selected ranging from one to the total number of season ticket holders. The numbers were matched with the alphabetical ordering thus yielding the sample of attenders. A random sampling of the community would not produce a true picture of the attenders and non-attenders because peOple from outside the community were among the season ticket holders. Therefore, some method had to be devised to produce an accurate sample. One could have gone into an elaborate matching procedure which would have taken considerable time and money. Rather than this the author devised his own, presumably unique, matching procedure. Taking the city directory in Adrian and the telephone directory in Westerville, the author found a next door neighbor of the attenders sample who was not a season ticket holder. This person then became the non-attender, matched partner, of the attender.. If the attender lived in another city, his next door neighbor was included in the sample. If the attender lived in an apartment, another apartment dweller in the same building was selected for the sample. By using this method the attenders living in a "rich" or "poor'section of town were matched with someone living under the same conditions. A random check of the matched attenders and non-attenders indicated that basically each had approximately the same amount of education and income. 55- Each of the non-attenders were assigned the same number as their matched attenders with the letter ”N” preceding the number. This facilitated record keeping and later tabulation of the questionnaires. Method employed to study sample To study the samples, the mailed questionnaire technique was employed. (Two separate questionnaires were constructed - one for the students1 and one for the community.2 To facilitate later tabulation,four separate colors of paper were used, one for each sample: Adrian students - white; Adrian community - blue; Otterbein students - yellow; and Otterbein community - pink. Prior to mailing, each questionnaire was further coded with the random number assigned to the Specific recipient. The numbers were later "checked-off” the master list as the questionnaires were returned and after sufficient time (about one month) a follow-up letter and second questionnaire were mailed to everyone who failed to return the original. All questionnaires for the Adrian samples were mailed from.Adrian, Michigan, on March 5, 1966, two weeks following the last program of the series. The community questionnaires were mailed through the U. 8. Mail with a pre-addressed, stamped return envelope enclosed for returning the questionnaire. The questionnaires for Adrian College students were placed in their campus mailbox at no cost to the author. An enclosed envelope was used to have the questionnaire returned to the public 1A copy of the Student questionnaire will be found as Appendix C. 2A c0py of the community questionnaire will be found as Appendix D. 5h. relations office on the Adrian campus. The returns were later mailed to the author. Basically, the same procedure mentioned above was used for the Otterbein samples, with the following exceptions: a stamped, return envelope was enclosed with each student questionnaire so they could be mailed immediately to the author. A story was placed in the Otterbein College newspaper and the Westerville Public Opinion explaining the project prior to distribution of the questionnaires. The questionnaires were issued about one month before the last program on the Otterbein series. The mailing date was March 25, 1966; the last program was April 25. A.Misca1culation Communication between the author and college officials at Otterbein led to a miscalculation in the construction of the student questionnaire. It was assumed that the students at Otterbein College were required to purchase season tickets as were the students at Adrian College. Based on this assumption, the student questionnaires for both schools were identically duplicated with the exception of stock color. The addressed envelopes were stuffed with the questionnaires and return envelopes and delivered, in person, to the campus. Arrangements were made to circulate the questionnaires following the publication of the college newspaper carrying background information on the study. After arrangements had been made to distribute the questionnaires, it was learned that Otterbein students were admitted free of charge to the Artist Series. A small percentage of the student's fee ($5.00 per 55- year) is used to subsidize the series. Although much of the material on the original questionnaire was applicable to Otterbein, seven questions were ambiguous and irrelevant. After consulting with the Director of the Cultural Series, it was concluded that the original questionnaires would be withheld from circulation and a new questionnaire would be duplicated. The Director of the Cultural Series agreed to contact the mail room to make arrangements to hold the questionnaires and the author was to prepare a new form. The author agreed to hire a student to open all envelopes, remove the original questionnaire and insert the new form which was mailed in bulk to the campus. Somewhere along the line, communication broke down and the original questionnaires were placed in circulation, before the second form arrived at Otterbein. 5 Since the second questionnaire would yield more useful information, it was decided to select a new sample of Students. Dr. Dodrill took the original list from the student directory and selected the next person in line and mailed them a c0py of the second questionnaire. It was Still random but was not the original sample so problems developed regarding how to handle this second sample. Dr. Dodrill attached a letter” to the second questionnaire eXplaining the purpose of the study and giving instructions as to where to return the form. 5Acopy of the second Otterbein student questionnaire will be found in Appendix E. 1+Acopy of Dr. Dodrill's letter which was attached to the second student questionnaire may be found as Appendix F. 560 Because of this miscalculation, no follow-up attempt was made on either the first or second Otterbein sample. However, adequate returns were received from both samples: h6.51 percent of the original and 50.L2 percent of the second sample were returned. Therefore, for statistical reasons and the importance of using the primary sample, the original questionnaire will be used for major comparisons in this study. However, certain aSpectS of the second sample will be utilized in this study as a check on the original sample. The second sample will also be used to test at least two hypotheses -- students admitted free to concerts are unaware of what portion of their fee is allocated for their admission, and second, ”Do they think they received their money's worth?”. II. Administrations' Viewpoint As mentioned at the beginning of this chapter, the thesis investi- gation actually consists of two parts. The method of studying the customer's viewpoint was discussed in the previous section. On the other side of the coin we have the administrative vieWpoint. In this section of Chapter II we will review the procedures used to study the second important aSpect of college cultural series as a public relations tool. We are primarily interested in studying the comments of those administrators who are directly associated with the public relations program and the cultural series. These people include: the President, the Director of Financial Development, the Director of Admissions, the Director of Public Relations or Information and the Director of the Cultural Series. To be assured that the same questions were asked of each college's administrators, a structured schedule was prepared for each of the 5 positions. The questions were designed to elicit college philosophy, views toward the cultural series, views toward public relations and opinions regarding the role of the cultural series as a public relations tool. Appointments were made with administrators and tape-recorded inter- views were held in their reSpective offices. All administrators went into great detail about the program at their schools. Although a schedule was used to direct the questioning, the probing technique was employed on specific points. The "in-depth” study produced more than sufficient information on which to compare the two colleges. III. Analysis of the Material July 1 was the last day to receive any student or community questionnaires. Although one or two questionnaires were received after that date they were not used in this study. A series of grids were constructed for use in tabulating the information collected on the questionnaires. It was decided to hand tabulate the material rather than to key punch and computer process the information. 5COpies of the schedules will be found as Appendix G. 38. The grids were designed to ferret out data to test the hypotheses. A total tabulation was not conducted on either the student or the community questionnaires. To obtain the needed information it was necessary to run several different cross tabulations which will be presented in the next chapter. Because the tape-recorded interviews with the college administrators went into great depth on some questions, the total texts will not be presented in this thesis. Instead only relevant material is extracted. This information will deal almost exclusively with the public relations value of the cultural series. Based on the information obtained, a comparison will be drawn in chapter five Showing the comments of counterparts in each school. In other words the Presidents' comments of the two schools will be compared as well as the comments of other counter administrative personnel. To conclude chapter five, a summary of the findings will be shown regarding the held beliefs of the administrative people interviewed. It will Show whether or not the college officials view the cultural series as a public relations tool. 73 ~“ fi‘rfifi *7- FINDINGS FRCM THE CUSTOMERS To refocus our attention, it will be recalled that this study consists of two parts: the customer and the college administration. In this chapter the primary concern will be to report the findings from the customer's viewpoint. A two-page questionnaire was mailed to the various publics including Adrian College community attenders and non-attenders as well as a random sample of Adrian Students and Otterbein College community attenders and non-attenders and a random sample of Otterbein students. A second sample of students was selected at Otterbein because of a miscalculation. In this thesis we will work primarily with the first Otterbein Student sample; however, at times reference will be made to the second sample. Therefore, unless otherwise Specified, references to Otterbein College students will mean the findings which were drawn from the first sample's questionnaires. A total of 91k questionnaires was mailed to the various samples. Table four showsthat of this number 158 were equally divided between Adrian community attenders and non-attenders, 556 were to students at Adrian, 42 were equally divided between Otterbein community attenders and non-attenders, and 578 questionnaires were to full-time Otterbein students. Usable returns numbered 557 or 60.9 percent, which is considered to be an outstanding return for a study of this nature. Dr. James Hundley 40. .moaeamm mammoum :Hmnhmuuo o3u can mo Honuwm co mouosuaoo mp3 asuSOHHow oz “maoz * Adam mm man an mama .285 age 0 0 AH a 00 mm on wad N: db mbn wmwcwwwum mwomwouuo no.8 Rm 2m 3m :8 .285 an 3.3 a: an S men Asa... 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