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Live and prerecorded popular music consumption

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  • Juan Montoro-Pons
  • Manuel Cuadrado-García

Abstract

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  • Juan Montoro-Pons & Manuel Cuadrado-García, 2011. "Live and prerecorded popular music consumption," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 35(1), pages 19-48, February.
    • Handle: RePEc:kap:jculte:v:35:y:2011:i:1:p:19-48
    DOI: 10.1007/s10824-010-9130-2
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    References listed on IDEAS

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    1. John O’Hagan, 1996. "Access to and participation in the arts: The case of those with low incomes/educational attainment," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 20(4), pages 269-282, December.
    2. Felix Oberholzer-Gee & Koleman Strumpf, 2007. "The Effect of File Sharing on Record Sales: An Empirical Analysis," Journal of Political Economy, University of Chicago Press, vol. 115(1), pages 1-42.
    3. Bruni, Luigino & Stanca, Luca, 2008. "Watching alone: Relational goods, television and happiness," Journal of Economic Behavior & Organization, Elsevier, vol. 65(3-4), pages 506-528, March.
    4. Juan Prieto-Rodríguez & Víctor Fernández-Blanco, 2000. "Are Popular and Classical Music Listeners the Same People?," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 24(2), pages 147-164, May.
    5. Earl, Peter E., 2001. "Simon's travel theorem and the demand for live music," Journal of Economic Psychology, Elsevier, vol. 22(3), pages 335-358, June.
    6. Zentner, Alejandro, 2006. "Measuring the Effect of File Sharing on Music Purchases," Journal of Law and Economics, University of Chicago Press, vol. 49(1), pages 63-90, April.
    7. Victoria Ateca-Amestoy, 2008. "Determining heterogeneous behavior for theater attendance," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 32(2), pages 127-151, June.
    8. Alan B. Krueger, 2005. "The Economics of Real Superstars: The Market for Rock Concerts in the Material World," Journal of Labor Economics, University of Chicago Press, vol. 23(1), pages 1-30, January.
    9. Louis Lévy-Garboua & Claude Montmarquette, 1996. "A microeconometric study of theatre demand," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 20(1), pages 25-50, March.
    10. Seaman, Bruce A, 2006. "Empirical Studies of Demand for the Performing Arts," Handbook of the Economics of Art and Culture, in: V.A. Ginsburgh & D. Throsby (ed.), Handbook of the Economics of Art and Culture, edition 1, volume 1, chapter 14, pages 415-472, Elsevier.
    11. Juan Montoro Pons & Manuel Cuadrado García, 2008. "Legal origin and intellectual property rights: an empirical study in the prerecorded music sector," European Journal of Law and Economics, Springer, vol. 26(2), pages 153-173, October.
    12. Throsby, David, 1994. "The Production and Consumption of the Arts: A View of Cultural Economics," Journal of Economic Literature, American Economic Association, vol. 32(1), pages 1-29, March.
    13. Donata Favaro & Carlofilippo Frateschi, 2007. "A discrete choice model of consumption of cultural goods: the case of music," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 31(3), pages 205-234, September.
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    Citations

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    Cited by:

    1. María Palma & Luis Palma & Luis Aguado, 2013. "Determinants of cultural and popular celebration attendance: the case study of Seville Spring Fiestas," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 37(1), pages 87-107, February.
    2. Godefroy Nguyen & Sylvain Dejean & François Moreau, 2014. "On the complementarity between online and offline music consumption: the case of free streaming," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 38(4), pages 315-330, November.
    3. Brinja Meiseberg, 2014. "Trust the artist versus trust the tale: performance implications of talent and self-marketing in folk music," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 38(1), pages 9-42, February.
    4. Victoria Ateca-Amestoy & Concetta Castiglione, 2023. "Live and digital engagement with the visual arts," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 47(4), pages 643-692, December.
    5. Geng Chen & Pei Tang, 2021. "Similar but special: an econometric analysis of live performing arts attendance in mainland China," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 45(3), pages 459-490, September.
    6. Maya Bacache-Beauvallet & Marc Bourreau & François Moreau, 2015. "Piracy and creation: the case of the music industry," European Journal of Law and Economics, Springer, vol. 39(2), pages 245-262, April.
    7. Christensen, Finn, 2022. "Streaming Stimulates the Live Concert Industry: Evidence from YouTube," International Journal of Industrial Organization, Elsevier, vol. 85(C).
    8. Essling, Christian & Koenen, Johannes & Peukert, Christian, 2017. "Competition for attention in the digital age: The case of single releases in the recorded music industry," Information Economics and Policy, Elsevier, vol. 40(C), pages 26-40.
    9. Sana El Harbi & Gilles Grolleau & Insaf Bekir, 2014. "Substituting piracy with a pay-what-you-want option: does it make sense?," European Journal of Law and Economics, Springer, vol. 37(2), pages 277-297, April.
    10. Wei-Jen Wen & Tsung-Chi Cheng, 2013. "Performing arts attendance in Taiwan: who and how often?," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 37(2), pages 309-325, May.
    11. Cho, Daegon & Smith, Michael D. & Telang, Rahul, 2017. "An empirical analysis of the frequency and location of concerts in the digital age," Information Economics and Policy, Elsevier, vol. 40(C), pages 41-47.
    12. Pablo De la Vega & Sara Suarez-Fernández & David Boto-García & Juan Prieto-Rodríguez, 2020. "Playing a play: online and live performing arts consumers profiles and the role of supply constraints," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 44(3), pages 425-450, September.
    13. Victor Fernandez-Blanco & Maria Jose Perez-Villadoniga & Juan Prieto-Rodriguez, 2016. "Looking into the Profile of Music Audiences," ACEI Working Paper Series AWP-08-2016, Association for Cultural Economics International, revised Jul 2016.
    14. Staffan Albinsson, 2013. "Swings and roundabouts: Swedish music copyrights 1980–2009," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 37(2), pages 175-184, May.

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    More about this item

    Keywords

    Live and prerecorded popular music; Participation; Audiences; Cultural demand; Cultural capital; Bivariate probit model; D12; C25; Z10; Z11;
    All these keywords.

    JEL classification:

    • D12 - Microeconomics - - Household Behavior - - - Consumer Economics: Empirical Analysis
    • C25 - Mathematical and Quantitative Methods - - Single Equation Models; Single Variables - - - Discrete Regression and Qualitative Choice Models; Discrete Regressors; Proportions; Probabilities
    • Z10 - Other Special Topics - - Cultural Economics - - - General
    • Z11 - Other Special Topics - - Cultural Economics - - - Economics of the Arts and Literature

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