January 25, 2023
(H)OM(E)NIBUS CULTURE AT A TIME OF LOCKDOWN
November 29, 2022
MUSIC PREFERENCES AS AN INSTRUMENT OF EMOTIONAL SELF-REGULATION ALONG THE BUSINESS CYCLE
March 15, 2022
HOW TICKET PRICES TO SWEDISH OPERA HOUSES AND SYMPHONY ORCHESTRAS HAVE BECOME INCREASINGLY EXCLUSIVE
February 1, 2022
REALITY VS. EXPECTATIONS: WHY WOULD ARTISTS FAVOUR FREE STREAMING?
January 18, 2022
WHAT IS THE CREATIVE INFLUENCE OF TEACHERS? EVIDENCE FROM MUSIC COMPOSITION SINCE 1450
September 14, 2021
THE POWER OF LOCAL NETWORKING: BOLOGNA’S MUSIC SCENE AS A CREATIVE COMMUNITY, 1978–1992
May 25, 2021
DO MUSEUMS FOSTER INNOVATION THROUGH ENGAGEMENT WITH THE CULTURAL AND CREATIVE INDUSTRIES?
May 11, 2021
BARGAINING OVER THE BALLET
April 27, 2021
AI CANNOT FEEL EMOTIONS BUT IT COMPOSES GREAT MUSIC
March 16, 2021
WHAT DRIVES CULTURAL PARTICIPATION OF IMMIGRANTS IN THE HOST COUNTRY?
September 1, 2020
TESTING THE CULTURAL CAPITAL REPRODUCTION THEORY IN COLOMBIA
July 7, 2020
DOES MUSIC SOOTHE THE SOUL?
March 17, 2020
THE “PARSIMONIOUS” CONDUCTOR? HOW ORCHESTRAS’ DISCIPLINE PREVENTS CONDUCTORS TO OVER-LEAD
February 18, 2020
ICCA 2020: CULTURAL POLICY, WHAT’S NEW?
September 17, 2019
FLAMENCO AND COPYRIGHT. THE CASE OF CAMARÓN DE LA ISLA
May 21, 2019
HITTING THE ‘TRIPLE J HOTTEST 100’: WHAT IT MEANS FOR ARTISTS