Over the past ten years, research on consumer patronage of the performing arts has moved through a process of primarily descriptive studies of audiences, to one of examining the various dynamics of audience behavior wherein current audience factors are used to explain and predict patronage behavior. Early studies involved developing audience profiles based on demographic and socio-economic constructs, with comparisons made between patrons and non-patrons [5, 6]. A thorough review of these early audience research studies by DiMaggio, Useem and Brown [4] provides evidence suggesting that art patronage is positively correlated with age, income, education, racial status (white), and that these patrons have a broad base of attendance to many live events. Further refinements in the conceptualization of art patronage studies produce results that are predictive as well as descriptive of behavior, and these results have been adapted to managerial planning and decision making. More recent research examines in detail some of the consumer dynamics involved in art patronage such as degre e of audience involvement to an organization over time [7] , and tangible and intangible motivators of performing arts patronage [3]. Well defined profiles of art patrons have been shown to be useful in market segmentation strategies [8], while Andreasen and Belk [1] have presented data which suggests that life-style, attitudes and socialization to the arts provide better predictors of attendance for marginal attenders than do demographic or socio-economic descriptors. While many studies have sought to predict arts attendance using current consumer characteristics, very few studies have investigated in any detail the effects of early arts experiences and family influences on current art patronage behavior. A belief widely held among behavioral scientists is that childhood and adolescent experiences are of paramount importance in shaping later patterns of adult behavior. "At least some patterns of adult