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1.
Program decisions by symphony orchestra management are influenced by various factors. To examine these factors, we create
an objective index of the propensity of a symphony orchestra to perform the standard repertoire. We use regression analysis
to examine factors that influence programming decisions of 64 US symphony orchestras in 2006–2007, including public and private
sources of funding. We find that increased funding from ticket sales, endowments, and local government increases the likelihood
that an orchestra will perform nonstandard repertoire. In addition, the results suggest that a symphony orchestra’s music
director does not have a significant impact on the degree of program conventionality. 相似文献
2.
Italian state museums are characterised by a rigid bureaucratic structure and are almost completely financed by government
transfers. In this paper we develop a simplified two-stage model in an attempt to explain how the government's preferences
for differentiated museum functions may affect museum organisation. The model shows that the government prefers that complementary
functions (e.g., conservation and scientific research) be produced by a single museum, whereas it prefers that substitutable
functions (e.g., conservation and access by the general public) be produced by two museums. We use this prediction for an
empirical analysis of the organisational structure of Italian state museums.
On the basis of the unique ISTAT census of the Italian museum system, we test with two separate probit models the probability
of observing in a state museum the concentration of either scientific activities of conservation and research or promotion
activities for education and the general public. Higher classes of centralisation for the state museums are also considered
by means of an ordered probit model. The results seem to suggest that the Italian state museum structure, as surveyed in the
early 1990s, fully reflected the traditional policy model viewing museums as institutions devoted to conservation, scientific
research and education.
JEL-Classification: D73, Z11 相似文献
3.
Severe budget cuts in the cultural sectors of many countries have spurred disparate suggestions for alternative sources available to public institutions. Deaccessioning may be an option, although controversial, to guarantee the survival of cultural institutions. This paper addresses the consequences that deaccessioning may have on donations of artworks to museums, by developing a sequential game with incomplete information. We investigate the interactions between donors and museums, when the former is uncertain about the commitment of a museum not to deaccess part of its endowment in the future. Our analysis shows that deaccessioning may reduce art donations to museums. Interestingly, public grants to museums cause a negative externality to a committed museum, which experiences a reduction in donations. Results provide intuitions for the widespread resistance to deaccessioning of museum associations, for their efforts to enforce common regulation restricting the use of proceeds to the acquisition of art, and also for the proliferation of private art museums. 相似文献
4.
David Maddison 《Journal of Cultural Economics》2004,28(2):89-108
Although museums are major recipients of public money, very little is known regarding what factors cause changes in the level of funding given to particular institutions. It is nevertheless regularly asserted by those affected that governments will reduce the level of subsidy going to those museums that raise revenues for themselves, especially if these revenues were raised through charging for admission. This paper explores the causal influences underlying changes in the level of government grants to museums. Statistically analysing data drawn from a panel of UK museums funded by central government, evidence is found that increases in non-grant income do indeed result in a statistically significant reduction in future government subsidies. It is however unclear whether these reductions are sufficient to offset entirely the financial benefits from charging or the pursuit of private benefactors. Despite the government's avowed intention to widen access to museums, changes in visitor numbers do not appear to cause changes in government grants. 相似文献
5.
Our paper analyzes the conduct of German public performing arts institutions in terms of non-market decision making or public choice. Apart from consumers of performing arts managers of performing arts institutions and public donors are main agents. A manager of a performing arts institution will not assume that the number of visitors is independent of his institution's programme or the ticket prices. By the same reasoning he will regard the amount of public subsidies not as exogenous, but dependent on his own policy. If future grants depend on present and past success (however defined), this will feed back into managerial decisions, along with expectations about demand. Data for the Federal Republic of Germany serve to empirically support the theoretical argument. 相似文献
6.
The paper deals with financing the culture in Italy. The public expenses for the culture are shared as expenses of the government, of the regions, of the provinces and of the municipalities. The relationships of the cultural organisations with the public sector are very strong because they belong to the public sector, or they broadly depend on public funds.A specific attention is devoted to other forms of financing, about the role of the entrance fees and the entrances of the game “Lotto”, which subsidy the cultural goods and the Interministerial Committee for the Economic Planning (CIPE) allocations to the depressed areas. We will also be faced up to the examination of other sources of private financing as the sponsorships, the entrances of collateral services about museum visits (coffee and bookstore) and the supply of banking foundations. The fiscal incentives refer directly to the cultural institution or to the external financing of the nonprofit institutions by donations or sponsorships. Finally, the cultural institutions will have always to operate more and more by a strategic vision of financial and managerial field, on the basis of high qualitative standards. The activities and cultural projects will have to be able to attract additional sources of income in addition to the public one; the search of private financial resources is developed in a situation of increasing competition among the institutions, while tools of innovative finance have to be used to satisfy the increasing demand of culture. It is difficult nevertheless to define the possible best method of public–private financing, if you take consideration of the distinctive features of the different institutions and interests of the operators who are involved: artists, cultural institutions, public bureaucracy, besides the economic effects which follow alternative choices. The recent evolution of the institutional, financial and managerial models of the culture in Italy plans a larger integration between public and private sectors for a great involvement of individuals, enterprises and foundations about the financing of the cultural services offer. 相似文献
7.
Determining the size of museum subsidies 总被引：1，自引：1，他引：0
Fernand Martin 《Journal of Cultural Economics》1994,18(4):255-270
The justification of a subsidy relies upon the museum's soical value which consists in its use value, its non-use value, and in its externalities. The estimation of these values is based on the consumer sovereignty expressed by the net cash revenues of the museum, the consumer surplus, positive externalities and the willingness to pay taxes. The paper measures these sources of value by the travel cost and contingent valuation methods and by special computations of externalities. The particular museum, used in this paper as a case study, seems to pass the test, i.e, its subsidies do not exceed its social value. 相似文献
8.
Our work pursues a twin aim. Firstly, we explore the influence of organizational size on innovations in museums as well as
its impact on museums’ economic, market and social performance. Secondly, we analyse how the (public–private) funding of such
organizations impacts innovation and performance. The empirical work is based on information from a survey of 491 museums
(British, French, Italian and Spanish). We find that museum size does prove relevant in the commitment to engage in innovation
but that public funding of museums does not encourage innovation. We also highlight the importance of the explanatory power
of the type of funding on the performance of these cultural organizations. This research also reveals how organizational and
technological innovations as well as innovation in value creation in museums enhance economic, market and social performance. 相似文献
9.
InMaking the Mummies Dance, Thomas Hoving, former director of the Metropolitan Museum of Art, articulates a blistering defense of his, admittedly minority, view; namely, that trading directly with dealers when selling deaccessioned works of art or adding to museum collections is preferable to buying and selling in the open auction market (Hoving, 1992). Hoving has been severely criticized for his trades during his tenure at the Metropolitan, as well as for his assessment of the market for fine arts, which runs counter to the prevailing views held by many American public officials, professional art critics and museum boards. We shall present a theoretical model in support of Hoving's argument that trades made at auctions may not serve the public interest. We shall also statistically investigate the stochastic processes which characterize the tertiary art market. 相似文献
10.
Juan Gabriel Brida Chiara Dalle Nogare Raffaele Scuderi 《Journal of Cultural Economics》2016,40(3):261-283
Some recent empirical contributions have highlighted that tourists often go to museums yet appear to extract little utility from the experience. We argue that this is often the case with agents who visit museums only while on holiday and results from a temporary lack of substitute experience goods or compliance with a must-do list. If such agents behaved according to Stigler and Becker’s rational addiction theory, they would also visit museums while at home. However, most do not, which makes them constantly occasional consumers. We indirectly test for the presence of constantly occasional museum attendance by tourists, using data from a survey conducted in 2012 at Vittoriale, the most popular museum at Lake Garda, a renowned Italian tourist destination. By applying multiple correspondence analysis to a question on motivations to visit the museum, we obtain two dimensions of motivation: one based on a search for knowledge and the other based on a more recreational attitude. Identification of the latter is a new finding in itself. We include these dimensions as regressors in a model used to explain museum attendance. We find, as expected, that light consumption negatively affects attendance. We therefore argue that empirical analyses of museum attendance should not disregard light motivation as a possible driver. 相似文献
11.
Musicians, singers and bands can use their popularity to promote various causes and products, either through endorsements or more individual initiatives. Environmental activism is becoming more widespread as humans are trying to tackle and mitigate climate change. In this paper, we ask how best a band can compensate for the carbon emissions generated by fans travelling to its shows. We first report on the various “green” initiatives and practices of the music industry. We then focus on greenhouse gas emissions that result from tours and concerts since they are one of the largest environmental impacts generated by the music industry. We take the perspective of the artist or band wishing to internalize their carbon emissions and present a model of carbon offsets in the context of rock concerts, which amounts to the private provision of a public good. In our model, bands have the option to include offsets in the ticket price or to offer voluntary offsets. To illustrate our point, we present a field study conducted by a Quebec rock band at shows in Montreal and in Europe to show how the artists can reduce the environmental impact of their concert by buying carbon credits equivalent to their fans’ footprint. We show that at 1 % of the ticket price on average, the cost of carbon offsets is marginal and discuss the numerous challenges that arise for those artists wanting to engage in carbon offsetting. 相似文献
12.
Douglas S. Noonan 《Journal of Cultural Economics》2007,31(4):293-310
This report focuses on state government appropriations to state arts agencies (SAA), a primary figure in arts and cultural
policy in the United States. A dynamic panel-data estimator can identify the fiscal, institutional, and demographic determinants
on SAA appropriations. Agency budgets are particularly sensitive to past appropriations, past state revenues and NEA grants,
some demographic variables, party control of state government, and state budgeting rules. Federal funds attract, rather than
crowd out, state appropriations. While the influence of some demographic variables may be shifting over time, income growth
continues to explain much of SAA appropriations.
相似文献
| Douglas S. NoonanEmail: |
13.
《Journal of International and Intercultural Communication》2013,6(4):279-297
Abstract Based on the theoretical concepts of imagined communities (Anderson, 2006), public sphere (Habermas, 1962/1991), and muted groups (Kramarae, 1981), this essay looks at issues of identity and identity formation of the largest European minority—the Roma, or Gypsies. The essay argues that, similarly to the European identity project, the Roma are actively building a transnational identity without abandoning national identities. Although this model can be a valuable blueprint for increasingly globalizing societies, it is neglected as a possibility because of Roma's marginal social status. Further exploration of self-organized Roma identity-construction is advised. 相似文献
14.
This article investigates the effect of a Tony nomination or win on the demand facing a Broadway production using a panel
of weekly revenues for Broadway productions from 1996 to 2007. Our results indicate that the effect of a nomination or win
is positive in the week of the announcement and gradually increases in successive weeks, presumably due to publicity and word-of-mouth.
Winners experience an increase in demand as late as 1 year later when awards are publicized for the following season. Moreover,
nominees that do not win the award are penalized heavily in the weeks following the Award announcements. We find that winning
a Tony Award increases a production’s revenues by 12% in the week immediately following the Awards.
相似文献
| Lesley ChiouEmail: |
15.
Frederick W. Derrick Nancy A. Williams Charles E. Scott 《Journal of Cultural Economics》2014,38(2):173-189
This paper advances the ongoing discussion of methods for predicting movie box office revenues with two contributions to the methodology and an out-of-sample test of the model. The first innovation is the development of a two-stage model using publicly available pre-release indicators to predict (1) initial week and (2) subsequent run box office revenues. To incorporate the experience-good nature of movies, the second stage is estimated by incorporating a proxy variable for box office success during the first week relative to predicted first week success. The second contribution is an empirical test of De Vany and Walls’ (J Econ Dyn Control 28:1035–1057, 2004) finding that the distribution of movie revenues has “heavy tails” and follows a non-Gaussian stable distribution with infinite variance. We estimate the two-stage model of a movie’s box office success on all general release movies in 1 year with both the Gaussian and stable distribution with heavy tails and infinite variance and find no evidence for the stable distribution in either stage of the estimation. This two-stage model is validated by comparing all general release movies in 3 future years (out-of-sample data) to the model’s predictions. 相似文献
16.
《Journal of Cultural Economy》2013,6(4):286-298
ABSTRACTUsing a six-year case study of Glasgow’s Sustainable City business model, this paper examines interactions between financialised governance of cities and clean energy strategies. Research on the role of cities in developing clean energy has paid limited attention to the interaction with financialised governance of infrastructure, which makes the implementation of plans largely dependent on private investment. A conceptual approach combining economic sociology of actor networks and urban political economy is used to analyse the career of the business model designed to transform old infrastructures into new clean energy assets. The analysis focuses on interactions between city council, public bodies and electricity distribution network business. Climate policies are creating uncertainties for energy businesses over revenues from ageing networks, suggesting scope for alliance with local governments. Making new liquid assets for clean energy from old infrastructure is however shown to be a process marked by instability and reversals. In conclusion, it is argued that concepts from actor-network theory and urban political economy used together reveal the hidden contingencies of financialisation in particular socio-technical interactions, and their materiality in the context of climate change. 相似文献
17.
We investigate the relationship between Italian municipalities’ spending on culture in the 1990s and 2000s and a number of
political variables—such as a left/right dummy, an election-year dummy and a term-limit indicator—controlling, among other
things, for economic and socio-demographic characteristics of the population, the level of human capital and instruction,
proxies of social capital, the extent of private financing of cultural provisions and touristic and artistic relevance. We
use a panel-data regression analysis and find that, indeed, some determinants of public expenditures on culture are political.
In particular, we identify an electoral cycle in which the incumbent spends less on culture in an election year. This result
is robust for variations in the empirical model accounting for both the persistence and spatial interdependence of cultural
expenditures by municipalities. 相似文献
18.
In this article, we examine the objectives of nonprofit arts firms. We approach this problem from both theoretical and empirical
angles, building a structural model of arts nonprofit utility that distinguishes between the maximization of quality, the
organization’s level of service, and its budget. We then construct an empirical method for testing which objective is evident
in firm-level data. As an example application, we test the objectives of the managers of American public radio stations in
the 1990s, finding that about half of stations have discernible objectives. The data show service is not an objective for
about 30% of the stations; quality can be ruled out for 49%; and budget is rejected for 69%. In addition, large stations are
harder to classify by objective than small ones are.
相似文献
| Arthur C. BrooksEmail: |
19.
This paper examines the impact of the National Endowment for the Arts on private donations to the arts. The aim of the analysis is to assess whether public funding generates a crowding effect on private giving. We distinguish between institutional and sectoral crowding phenomena and discuss their possible implications.We used both a qualitative approach and an econometric model to estimate the effect of NEA introduction and appropriations on donations. Our results suggest that at the institutional level NEA grants do not generally induce donations to recipients while at the sectoral level appropriations and private giving are independent. The introduction of the agency appears to have caused a decrease in donations. 相似文献
20.
《Journal of Cultural Heritage》2014,15(4):382-390
To prevent the deterioration of artwork on stretched canvas in a museum, it is often necessary to neutralize the transmission of vibrations from sources such as the wall or the floor. An anti-vibratory system easily optimizes vibrations that are transmitted from the floor because the artwork's motion occurs in vertical translation. Hanging artwork, which receives vibrations from the wall, presents a more complex case because the motion consists of a translation and a rotation. This paper presents a model to determine a cutting frequency above which vibrations transmitted to the artwork are lowered. A procedure to obtain the parameters of this model is also presented. Experiments in a laboratory and in the Louvre Museum validate the predicted cutting frequency given by the model. A downloadable spreadsheet is available to apply this method to specific artwork. 相似文献