White paper on creativity - ebla center

Noteslxxv A recent study (D. Urrutiaguer, 2002, “Quality Judgements and Demand for FrenchPublic Theatre”, Journal of Cultural Economics, vol. 26, no. 3) inferred from some data onnews<strong>paper</strong> criticism that the size of production may be considered a determining factor inperceived quality. That the data appears to be in line with the critics’ expectations may not besurprising; but this does not justify arguing there is a causal nexus between the scale and thequality of the productions, partly in the light of the mixed nature of audiences and theconsequent variety of expectations and objectives concerning the contribution that the operaexperience may make to the growth of wellbeing in individual consumers.lxxvi On this subject, see Cognata, A. (2003), “Note stonate: il finanziamento pubblico deiteatri d’opera”, Sviluppo Economico, no. 2.lxxvii In the case of the Teatro alla Scala, Milan, which has a universally acclaimed internationalreputation, 90% of the season ticket-holders live in the province of Milan and 81% of nonseasonticket-holders in the Lombard Region; on this point, see Trimarchi, M. and R.Ponchio (2007), 79. “I fantasmi dell’opera: la lirica in Italia tra nostalgia e imprenditorialità”,Ticonzero. Knowledge and Ideas for Emerging Leaders, no. 78 (http://www.ticonzero.info ).lxxviii On the Bolzano experience see, Studio e monitoraggio dell’offerta teatrale in Alto Adige nel 2005,Provincia Autonoma di Bolzano-Alto Adige, 2007.lxxix The FIMI survey provides an estimate of items produced by the major record companies.Due to a lack of data in some links in the chain, the market values shown here are not fullyrepresentative of the recording sector, but do provide clear indications as to how the musicbusiness is evolving.WHITE PAPER ON CREATIVITY 379