Edited by Ruth Towse, Professor of Economics of Creative Industries, CIPPM, Bournemouth University and CREATe Fellow in Cultural Economics, University of Glasgow, UK

• Contents:AcknowledgementsIntroduction Ruth TowsePART IGENERAL1. Mark Blaug (2001), ‘Where Are We Now in Cultural Economics?’2. Bruce A. Seaman (2004), ‘Competition and the Non-Profit Arts: The Lost Industrial Organization Agenda’3. William D. Grampp (1989), ‘Rent-seeking in Arts Policy’4. Alan Peacock (2004), ‘The Credibility of Cultural Economists’ Advice to Governments’PART IITHEORETICAL DEVELOPMENTS 5. Michael Rushton (1999), ‘Methodological Individualism and Cultural Economics’6. David Throsby (2001), ‘Conclusions’7. Douglas S. Noonan (2003), ‘Contingent Valuation and Cultural Resources: A Meta-Analytic Review of the Literature’PART IIITICKET PRICING 8. Sherwin Rosen and Andrew M. Rosenfield (1997), ‘Ticket Pricing’9. Pascal Courty (2003), ‘Some Economics of Ticket Resale’10. Stephen J. Bailey and Peter Falconer (1998), ‘Charging for Admission to Museums and Galleries: A Framework for Analysing the Impact on Access’PART IVPERFORMING ARTS 11. Louis Lévy-Garboua and Claude Montmarquette (1996), ‘A Microeconometric Study of Theatre Demand’12. Susanne Krebs and Werner W. Pommerehne (1995), ‘Politico-Economic Interactions of German Public Performing Arts Institutions’13. Ruth Towse (2001), ‘Quis custodiet? Or Managing the Management: The Case of the Royal Opera House, Covent Garden’PART VMUSEUMS 14. William D. Grampp (1996), ‘A Colloquy about Art Museums: Economics Engages Museology’15. Odile Paulus (2003), ‘Measuring Museum Performance: A Study of Museums in France and the United States’PART VIBUILT HERITAGE 16. David Throsby (1997), ‘Seven Questions in the Economics of Cultural Heritage’17. Ilde Rizzo (1998), ‘Heritage Regulation: A Political Economy Approach’18. Françoise Benhamou (1996), ‘Is Increased Public Spending for the Preservation of Historic Monuments Inevitable? The French Case’PART VII THE ART MARKET 19. Neil De Marchi (1999), excerpt from ‘Introduction’20. Jianping Mei and Michael Moses (2002), ‘Art as an Investment and the Underperformance of Masterpieces’21. R.B. Ekelund, Jr., Rand W. Ressler and John Keith Watson (2000), ‘The “Death-Effect” in Art Prices: A Demand-Side Exploration’22. Victor Ginsburgh (2006), ‘The Economic Consequences of Droit de Suite in the European Union’PART VIII ARTISTS’ LABOUR MARKETS 23. David Throsby (1994), ‘A Work-Preference Model of Artist Behaviour’24. Maurizio Caserta and Tiziana Cuccia (2001), ‘The Supply of Arts Labour: Towards a Dynamic Approach’25. Tyler Cowen and Alexander Tabarrok (2000), ‘An Economic Theory of Avant-Garde and Popular Art, or High and Low Culture’26. Tyler Cowen (1996), ‘Why Women Succeed, and Fail, in the Arts’PART IXINSTITUTIONS AND CREATIVITY 27. Bruno S. Frey (2003), ‘Creativity, Government and the Arts’28. Ruth Towse (2001), ‘Partly for the Money: Rewards and Incentives to Artists’29. Xavier Castañer and Lorenzo Campos (2002), ‘The Determinants of Artistic Innovation: Bringing in the Role of Organizations’PART XCREATIVE INDUSTRIES 30. Richard E. Caves (2003), ‘Contracts Between Art and Commerce’31. Jonathan Gander and Alison Rieple (2004), ‘How Relevant is Transaction Cost Economics to Inter-Firm Relationships in the Music Industry?’32. F.M. Scherer (2001), ‘An Early Application of the Average Total Cost Concept’33. Eric A. Strobl and Clive Tucker (2000), ‘The Dynamics of Chart Success in the U.K. Pre-Recorded Popular Music Industry’34. Arthur De Vany and W. David Walls (1999), ‘Uncertainty in the Movie Industry: Does Star Power Reduce the Terror of the Box Office?’35. Bruno S. Frey with Isabelle Vautravers-Busenhart (2000), ‘Special Exhibitions and Festivals: Culture’s Booming Path to Glory’PART XICOPYRIGHT 36. Hal R. Varian (2005), ‘Copying and Copyright’37. Stan J. Liebowitz (2004), ‘Will MP3 Downloads Annihilate the Record Industry? The Evidence so Far’Name Index

'This is an extremely useful collection for anyone wishing to find out what currently goes on in the field of cultural economics.'<BR>- Sam Cameron, Economic Issues

Edited by Ruth Towse, Professor of Economics of Creative Industries, CIPPM, Bournemouth University and CREATe Fellow in Cultural Economics, University of Glasgow, UK

• Contents:AcknowledgementsIntroduction Ruth TowsePART IGENERAL1. Mark Blaug (2001), ‘Where Are We Now in Cultural Economics?’2. Bruce A. Seaman (2004), ‘Competition and the Non-Profit Arts: The Lost Industrial Organization Agenda’3. William D. Grampp (1989), ‘Rent-seeking in Arts Policy’4. Alan Peacock (2004), ‘The Credibility of Cultural Economists’ Advice to Governments’PART IITHEORETICAL DEVELOPMENTS 5. Michael Rushton (1999), ‘Methodological Individualism and Cultural Economics’6. David Throsby (2001), ‘Conclusions’7. Douglas S. Noonan (2003), ‘Contingent Valuation and Cultural Resources: A Meta-Analytic Review of the Literature’PART IIITICKET PRICING 8. Sherwin Rosen and Andrew M. Rosenfield (1997), ‘Ticket Pricing’9. Pascal Courty (2003), ‘Some Economics of Ticket Resale’10. Stephen J. Bailey and Peter Falconer (1998), ‘Charging for Admission to Museums and Galleries: A Framework for Analysing the Impact on Access’PART IVPERFORMING ARTS 11. Louis Lévy-Garboua and Claude Montmarquette (1996), ‘A Microeconometric Study of Theatre Demand’12. Susanne Krebs and Werner W. Pommerehne (1995), ‘Politico-Economic Interactions of German Public Performing Arts Institutions’13. Ruth Towse (2001), ‘Quis custodiet? Or Managing the Management: The Case of the Royal Opera House, Covent Garden’PART VMUSEUMS 14. William D. Grampp (1996), ‘A Colloquy about Art Museums: Economics Engages Museology’15. Odile Paulus (2003), ‘Measuring Museum Performance: A Study of Museums in France and the United States’PART VIBUILT HERITAGE 16. David Throsby (1997), ‘Seven Questions in the Economics of Cultural Heritage’17. Ilde Rizzo (1998), ‘Heritage Regulation: A Political Economy Approach’18. Françoise Benhamou (1996), ‘Is Increased Public Spending for the Preservation of Historic Monuments Inevitable? The French Case’PART VII THE ART MARKET 19. Neil De Marchi (1999), excerpt from ‘Introduction’20. Jianping Mei and Michael Moses (2002), ‘Art as an Investment and the Underperformance of Masterpieces’21. R.B. Ekelund, Jr., Rand W. Ressler and John Keith Watson (2000), ‘The “Death-Effect” in Art Prices: A Demand-Side Exploration’22. Victor Ginsburgh (2006), ‘The Economic Consequences of Droit de Suite in the European Union’PART VIII ARTISTS’ LABOUR MARKETS 23. David Throsby (1994), ‘A Work-Preference Model of Artist Behaviour’24. Maurizio Caserta and Tiziana Cuccia (2001), ‘The Supply of Arts Labour: Towards a Dynamic Approach’25. Tyler Cowen and Alexander Tabarrok (2000), ‘An Economic Theory of Avant-Garde and Popular Art, or High and Low Culture’26. Tyler Cowen (1996), ‘Why Women Succeed, and Fail, in the Arts’PART IXINSTITUTIONS AND CREATIVITY 27. Bruno S. Frey (2003), ‘Creativity, Government and the Arts’28. Ruth Towse (2001), ‘Partly for the Money: Rewards and Incentives to Artists’29. Xavier Castañer and Lorenzo Campos (2002), ‘The Determinants of Artistic Innovation: Bringing in the Role of Organizations’PART XCREATIVE INDUSTRIES 30. Richard E. Caves (2003), ‘Contracts Between Art and Commerce’31. Jonathan Gander and Alison Rieple (2004), ‘How Relevant is Transaction Cost Economics to Inter-Firm Relationships in the Music Industry?’32. F.M. Scherer (2001), ‘An Early Application of the Average Total Cost Concept’33. Eric A. Strobl and Clive Tucker (2000), ‘The Dynamics of Chart Success in the U.K. Pre-Recorded Popular Music Industry’34. Arthur De Vany and W. David Walls (1999), ‘Uncertainty in the Movie Industry: Does Star Power Reduce the Terror of the Box Office?’35. Bruno S. Frey with Isabelle Vautravers-Busenhart (2000), ‘Special Exhibitions and Festivals: Culture’s Booming Path to Glory’PART XICOPYRIGHT 36. Hal R. Varian (2005), ‘Copying and Copyright’37. Stan J. Liebowitz (2004), ‘Will MP3 Downloads Annihilate the Record Industry? The Evidence so Far’Name Index

'This is an extremely useful collection for anyone wishing to find out what currently goes on in the field of cultural economics.'<BR>- Sam Cameron, Economic Issues

Edited by Ruth Towse, Professor of Economics of Creative Industries, CIPPM, Bournemouth University and CREATe Fellow in Cultural Economics, University of Glasgow, UK

• Contents:AcknowledgementsIntroduction Ruth TowsePART IGENERAL1. Mark Blaug (2001), ‘Where Are We Now in Cultural Economics?’2. Bruce A. Seaman (2004), ‘Competition and the Non-Profit Arts: The Lost Industrial Organization Agenda’3. William D. Grampp (1989), ‘Rent-seeking in Arts Policy’4. Alan Peacock (2004), ‘The Credibility of Cultural Economists’ Advice to Governments’PART IITHEORETICAL DEVELOPMENTS 5. Michael Rushton (1999), ‘Methodological Individualism and Cultural Economics’6. David Throsby (2001), ‘Conclusions’7. Douglas S. Noonan (2003), ‘Contingent Valuation and Cultural Resources: A Meta-Analytic Review of the Literature’PART IIITICKET PRICING 8. Sherwin Rosen and Andrew M. Rosenfield (1997), ‘Ticket Pricing’9. Pascal Courty (2003), ‘Some Economics of Ticket Resale’10. Stephen J. Bailey and Peter Falconer (1998), ‘Charging for Admission to Museums and Galleries: A Framework for Analysing the Impact on Access’PART IVPERFORMING ARTS 11. Louis Lévy-Garboua and Claude Montmarquette (1996), ‘A Microeconometric Study of Theatre Demand’12. Susanne Krebs and Werner W. Pommerehne (1995), ‘Politico-Economic Interactions of German Public Performing Arts Institutions’13. Ruth Towse (2001), ‘Quis custodiet? Or Managing the Management: The Case of the Royal Opera House, Covent Garden’PART VMUSEUMS 14. William D. Grampp (1996), ‘A Colloquy about Art Museums: Economics Engages Museology’15. Odile Paulus (2003), ‘Measuring Museum Performance: A Study of Museums in France and the United States’PART VIBUILT HERITAGE 16. David Throsby (1997), ‘Seven Questions in the Economics of Cultural Heritage’17. Ilde Rizzo (1998), ‘Heritage Regulation: A Political Economy Approach’18. Françoise Benhamou (1996), ‘Is Increased Public Spending for the Preservation of Historic Monuments Inevitable? The French Case’PART VII THE ART MARKET 19. Neil De Marchi (1999), excerpt from ‘Introduction’20. Jianping Mei and Michael Moses (2002), ‘Art as an Investment and the Underperformance of Masterpieces’21. R.B. Ekelund, Jr., Rand W. Ressler and John Keith Watson (2000), ‘The “Death-Effect” in Art Prices: A Demand-Side Exploration’22. Victor Ginsburgh (2006), ‘The Economic Consequences of Droit de Suite in the European Union’PART VIII ARTISTS’ LABOUR MARKETS 23. David Throsby (1994), ‘A Work-Preference Model of Artist Behaviour’24. Maurizio Caserta and Tiziana Cuccia (2001), ‘The Supply of Arts Labour: Towards a Dynamic Approach’25. Tyler Cowen and Alexander Tabarrok (2000), ‘An Economic Theory of Avant-Garde and Popular Art, or High and Low Culture’26. Tyler Cowen (1996), ‘Why Women Succeed, and Fail, in the Arts’PART IXINSTITUTIONS AND CREATIVITY 27. Bruno S. Frey (2003), ‘Creativity, Government and the Arts’28. Ruth Towse (2001), ‘Partly for the Money: Rewards and Incentives to Artists’29. Xavier Castañer and Lorenzo Campos (2002), ‘The Determinants of Artistic Innovation: Bringing in the Role of Organizations’PART XCREATIVE INDUSTRIES 30. Richard E. Caves (2003), ‘Contracts Between Art and Commerce’31. Jonathan Gander and Alison Rieple (2004), ‘How Relevant is Transaction Cost Economics to Inter-Firm Relationships in the Music Industry?’32. F.M. Scherer (2001), ‘An Early Application of the Average Total Cost Concept’33. Eric A. Strobl and Clive Tucker (2000), ‘The Dynamics of Chart Success in the U.K. Pre-Recorded Popular Music Industry’34. Arthur De Vany and W. David Walls (1999), ‘Uncertainty in the Movie Industry: Does Star Power Reduce the Terror of the Box Office?’35. Bruno S. Frey with Isabelle Vautravers-Busenhart (2000), ‘Special Exhibitions and Festivals: Culture’s Booming Path to Glory’PART XICOPYRIGHT 36. Hal R. Varian (2005), ‘Copying and Copyright’37. Stan J. Liebowitz (2004), ‘Will MP3 Downloads Annihilate the Record Industry? The Evidence so Far’Name Index

'This is an extremely useful collection for anyone wishing to find out what currently goes on in the field of cultural economics.'<BR>- Sam Cameron, Economic Issues