August 29, 2017
MAKING CULTURE CAPITAL: EVALUATING THREE DECADES OF THE EUROPEAN CAPITAL OF CULTURE
May 2, 2017
FOR MUSEUMS, WITH RAIN COME CROWDS?
April 18, 2017
THE PRINCESS OF ASTURIAS FOUNDATION OR HOW A NON-PROFIT INSTITUTION CAN BE EFFICIENT
April 4, 2017
CULTURALLY-BIASED VOTING IN THE EUROVISION SONG CONTEST: DO NATIONAL CONTESTS DIFFER?
February 21, 2017
FROM SNOBBY TO SUSTAINABLE: MOVING MUSEUM FUNDRAISING FROM SELECT ELITIST CONTRIBUTIONS TO DIVERSE COMMUNITY PARTICIPATION
December 13, 2016
FAIRNESS CONSIDERATIONS IN THE LIVE MUSIC INDUSTRY
October 25, 2016
VOLATILE ART AUDIENCES
October 11, 2016
GOING MEANS TROUBLE AND STAYING MAKES IT DOUBLE: THE VALUE OF LICENSING RECORDED MUSIC ONLINE
September 13, 2016
INSPIRING LOUVRE OR TATE? SUBJECTIVE WELL-BEING AND ENGAGEMENT IN ARTS, CULTURE AND SPORT
August 30, 2016
SOMEBODY MUST KNOW SOMETHING!
August 16, 2016
THE ARTS CONNECT STUDENTS TO SCHOOL
June 28, 2016
A HISTORY OF THE ART MARKET IN 35 RECORD-BREAKING SALES
June 14, 2016
MUSIC AND THE MUSIC INDUSTRY: A SAD-ONOMICS APPROACH
March 16, 2016
WHAT IS COPYRIGHT GOOD FOR?
March 2, 2016
WHAT CULTURAL PRODUCERS MAY LEARN IN TIME OF RECESSION
February 16, 2016
WHO ARE THE VISITORS OF CULTURAL SITES ACROSS EU COUNTRIES?