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. Focus groups held with concert-goers who used the app suggested it wasn’t an appropriate way to deepen the live experience or expand the audience, although it was an efficient way of selling tickets.The research was based on seven focus groupsAll but one of the groups took place immediately after the concerts. In total 81 students took part in the research. Short questionnaires were also completed by 68 of the focus group participants. The profile of the students was generally more affluent and

This research was conducted by Anna Goulding at Newcastle University, UK
Summary
Over a period of 21 months, 43 participants aged 60-92 visited three contemporary art galleries in the northeast of England. They listened to a talk before taking part in facilitated discussions in which personal responses to the artworks were encouraged. The study responds to the idea that developing effective lifelong learning opportunities for post-retirement people can have positive implications for the

This research was conducted by Devon Proudfoot, Aaron C. Kay and Christy Z. Koval at Duke University, USA.
Summary
Even when producing identical outputs, men are perceived as more creative than women, and ‘outside-the-box’ creative thinking is associated with stereotypically masculine characteristics. The study provides a statistical analysis of reactions to online TED Talks showing that ingenuity is heavily more associated with men than women. When it comes to evaluations at work, women are

This research was conducted by Bethany Rex at Newcastle UniversitySummaryThis paper examined why – in the face of government cutbacks – some museums ‘retain funding and status as part of direct public provision while others are identified to be transferred to community groups via the asset transfer process’. It discovered that ‘certain types of museum’ are more vulnerable to being treated in this way. In general, local authorities are motivated to ‘renounce responsibility for museums that

operetta and ballet). In essence, they found that ‘the profiles of live and online cultural consumers differ’ but that socio-demographic factors like age and income ‘are much more important for explaining the likelihood’ of attending in person. ‘Whereas age, gender, educational achievements and labour status are really helpful in explaining who the live attendees are, these variables are less relevant for characterising online consumers’. Taking a performance online will widen its audience but

/ethnicity’. Ultimately, ‘lifelong engagement with music and the arts is one measurable outcome of school-based music education in the United States’ (which could be thought of ‘as the largest audience development enterprise in the nation’).The study used the 2012 Survey of Public Participation in the Arts to measure a mixture of specific attendance and participation activitiesThese included ‘attendance at live classical music or opera, live jazz, live theatre, live ballet, or live dance performances

distinction) it doesn’t therefore really
offer insight ticket purchasing behaviour.
Live music attendance continues to be popular despite declining sales
of recorded music
People are increasingly aware that
musicians earn more money from live performances than from recorded music. This
may offer a way for those engaged in music piracy ‘to justify their behaviour
in a principled way’. The paper offers some advice for the music industry: to
think about ways to monetise meeting the band in person, and to vary the set
lists and arrangements of the musical acts.

. However, ‘although the effect of income is significant, it is much lower than that of education’.The study used data from the 2006 and 2015 modules of the European Union Statistics on Income and Living Conditions in SpainThe survey asked about ‘going to the cinema, attending live performances (concerts, opera, theatre, ballet, dance) and visiting sites of cultural interest (monuments, museums, archaeological sites and galleries)’ and contains a sample of more than 25,000 people in each module. This

website, nested within BBC Arts, in which people could share examples of their creative activities and outputs. [And] several hundred Get Creative Champions – organisations or individuals who put on Get Creative events’). The paper proposes that policymakers and researchers begin to approach the business of cultural policy by asking how human flourishing can be supported by giving people the means and opportunities to make art or music, to express themselves and learn for themselves (rather than

This research was conducted by Hasan Bakhshi and David Throsby at the National Endowment for Science, Technology and the Arts, UK and Macquarie University, AustraliaSummaryThis paper sets out a conceptual framework for understanding how new technologies are changing the way in which cultural organisations work. The research used this framework to analyse data from surveys taken of both ‘live’ and ‘digital’ audiences for The National Theatre and Tate. In both cases the online audiences were less