
February 3, 2025
STREAMING’S UNEVEN TUNE: EXPLORING THE INEQUALITIES ON BANDCAMP MUSIC PLATFORM

October 15, 2024
HOW IMPORTANT IS THE TOUCH WHEN YOU LISTEN TO MUSIC? AN INVESTIGATION ON THE CENTRALITY OF TACTILE VALUE IN LIVE MUSIC EVENTS

June 10, 2024
SONGS OF OPTIMISM FOR TROUBLED TIMES: MUSIC PREFERENCES AMID SOCIO-ECONOMIC CHALLENGES

April 29, 2024
RETHINKING MUSIC STREAMING ROYALTIES – HOW DO WE BETTER ALIGN CONSUMER VALUE AND ARTIST PAYMENTS?

March 5, 2024
ASSESSING THE OPINIONS OF EXPERTS AND NON-EXPERTS THROUGHT THE LENS OF INTERNATIONAL CLASSICAL MUSIC COMPETITIONS

September 19, 2023
FURTHER ON THE SAD PRODUCTION FUNCTION FOR MUSIC

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