1,721,250 research outputs found
How God and King Affect our Music Tastes: Religiosity and Political Interest as Predictors of Omnivorousness
No full textThis article examines how specific habitus (i.e., past cultural practices, individuals' political interests and religious beliefs) affects propensity towards omnivorous tastes in music, either in voraciousness or eclecticism. The authors develop and test hypotheses on the music preferences of an Italian opera audience. They show that religiosity and political interest influence omnivorous taste patterns in cultural consumption. Voracious omnivores have stronger political convictions than eclectic omnivores, who are characterized by a religiosity that might result in greater tolerance of diversity. This partially contradicts the results of previous studies associating political commitment with freedom to cross boundaries and religion with traditional boundaries limiting self-expression. This study refines the "univore/omnivore" thesis, focusing on practices that foster the development of an omnivore aesthetic disposition by the upper social classes. Unveiling the distinctive traits of voracious and eclectic performing arts audiences may enable marketing managers to differentiate their loyalty-building policies according to attendees' characteristics
Audience-Development nei Teatri d’Opera: Origini e Determinanti del Gusto Musicale del Pubblico d’Opera
No full textUnderstanding the Profile of Omnivorous Music Consumers: Cultural Voracity vs. Taste Eclecticism
No full textThe Phantom of Modern Opera: How Economics and Politics Affect the Programming Strategies of Opera Houses
No full textDespite the increasing number of music compositions by living composers, non-profit opera houses are often reluctant to include modern and contemporary operas in their repertoire. The authors consider the extent to which willingness to stage modern and contemporary operas varies with the economic and political conditions that shape the environment in which an opera house functions (i.e., demand for opera, local community openness to risk, public funding). They test their hypotheses by using panel data regression analysis to examine the programming decisions of 30 Italian opera houses over five years. The results suggest that audience pressure is a major obstacle to artistic renewal in programming. However, specific characteristics of the local community (e.g., openness to risk) moderate the negative effect of market pressures on modern and contemporary programming strategies. In addition, politicians do not counteract audience preferences for conservative artistic choices: public funding does not stimulate the programming of modern and contemporary music, and only changes in local government will increase the likelihood that an opera house will commit to artistic development of the field
Comparative Analysis of Bisimulation Relations on Alternating and Non-Alternating Probabilistic Models
No full text
Social Innovation in Arts & Culture: Social Cohesion in Contexts of Culture-led Place Rejuvenation
No full textThis report aims at presenting the evolution of the social innovation stream “social cohesion in
contexts of cultural-led place rejuvenation” (identified through the selection process carried
out in report D4.2) (Turrini et al., 2015) and the main characteristics and magnitude of
contribution to the stream of the most relevant organisations that operate within it. This
research topic is investigated in Italy, Spain, France and The Netherlands
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Cultural Factory tra Iconicità e Management: un Benchmarking Europeo
No full textNel corso degli ultimi decenni, molte città hanno sostenuto ingenti investimenti per finanziare la costruzione di centri artistici e culturali nel tentativo di migliorare la propria attrattività turistica o per riqualificare urbanisticamente quartieri o zone altamente degradate (Lazzeretti 2003; McCarthy 2005; Bagwell 2008). In particolare, molti governi locali in Europa hanno commissionato la progettazione o la ristrutturazione di
nuovi centri artistici ad architetti di prestigio del calibro di Norman Foster, Santiago
Calatrava, Renzo Piano usando l’iconicità di questi edifici come strumento di marketing territoriale e di rinnovamento dell’immagine urbana (Stephens 1999; Plaza 2000a
e 2000b).
L’importanza di tale fenomeno è evidenziata dal grafico della figura 1 che rappresenta
il numero di nuove aperture di centri culturali “iconici” dedicati solamente allo spettacolo dal vivo e all’intrattenimento. Negli ultimi 15 anni in Europa ne sono stati inaugurati 38, in media più di 2 all’anno.
È un dato di fatto che questi nuovi centri (che assumono le caratteristiche di vere e proprie cultural factory multifunzionali per le arti e l’intrattenimento) possono potenzialmente generare esternalità positive sulla città oltre a svolgere un ruolo di catalizzatore
all’interno della comunità locale rafforzandone l’identità e il capitale sociale (Strom
2002b; Miles 2005; Chapain e De Propris 2009; Smith e Strand 2011). Mentre la maggior parte degli studi che hanno indagato tale fenomeno si sono concentrati sulla valutazione degli impatti economici e sociali sul territorio locale, meno frequenti sono stati gli studi che hanno cercato di approfondire le modalità in base alle quali queste nuove fabbriche della cultura sono gestite.
Obiettivo dell’articolo è di colmare questa lacuna, esplorando le somiglianze tra sei
compound culturali, analizzando e confrontando le loro strutture di governo e di gestione aziendale. Lo studio si concentra su centri culturali denominati “iconici” in quanto progettati da architetti di fama internazionale e destinati ad avere un impatto decisivo non solo a livello locale
ma anche regionale o nazionale. Inoltre, per ragioni di
comparabilità, l’attenzione si concentrerà sui centri che
offrono spettacoli dal vivo e di intrattenimento
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