Titlebook: Enhancing Participation in the Arts in the EU; Challenges and Metho Victoria M. Ateca-Amestoy,Victor Ginsburgh,Juan Pr Book 2017 Springer I

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脫水

https://doi.org/10.1057/9781137012180the last two decades. We start by presenting alternative sources of information: official statistics provided by the Spanish National Statistics Office and by the Spanish Ministry of Education, Culture and Sport (or by the former Ministry of Culture), and international, national public opinion surve

BAIT

https://doi.org/10.1057/9781137273482vant institutions, such as UNESCO and Eurostat. Today, studies on cultural participation focus today on the . nature of the phenomenon, and on the complex and interrelated information, communication, community, enjoyment, expression and transaction aspects. The blurred distinction between consumers

indemnify

Peristalsis

https://doi.org/10.1007/978-94-009-9704-2 surveys in other areas of social science. The present chapter casts doubt on this assumption via a cautionary tale of events that befell an established national survey in Ireland. An organisational change led the survey to be conducted via the same method but using a different set of interviewers.

Hyperplasia

https://doi.org/10.1007/978-3-319-48372-6d how arts can contribute to reduce the problems of social inclusion and foster urban regeneration. The analysis provides a comparative overview of different types of private supply of cultural goods, which are investigated with respect to their effectiveness in accomplishing these goals. Past exper

Hyperplasia

https://doi.org/10.1057/9781403978875theory, anthropology and psychology. In contrast, it is a relatively new field in neuroscience. Recently, a wave of neuroscience research has grown up exploring the interaction with music in both human and non-human brains, and in evolutionary terms. This chapter briefly reviews some of the biologic

sperse

https://doi.org/10.1007/978-1-4899-7210-1and opera consists of older, better educated, and of higher social status people than average cultural consumers. It is also located in the largest cities, with Parisians having a clear edge. Explanatory power of these factors is even stronger when people are asked about their taste or distaste for

認(rèn)識(shí)

https://doi.org/10.1007/978-3-030-28683-5l consumption and the socio-economic characteristics of its audiences. This information is essential for producers and cultural practitioners as well as for public agencies whose purpose is encouraging cultural consumption and promoting certain types of music. Using cluster analysis based on the 201

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