This article designs an empirical methodology to measure the perceived value of intangible cultural heritage, specifically using the significant example of flamenco. Such methodology is divided into three stages: interviews with experts, to lay out the flamenco creation process and to identify the aspects, which influenced its value; a double system survey for spectators and experts, which determines the perceived valuation of stated aspects; and finally, a correlation and exploratory factor analysis whose results identified three influencing factors on the valuation of flamenco: feelings, virtuosity, and composition elements. The conclusions show how feelings are the key element in its valuation, representing the highest proportion of the accumulated total variance. Due to its findings, this methodology creates a precedent for intangible cultural heritage valuation, which applies to those music genres characterized by local idiosyncratic elements in their creation, such as vallenato (Colombia), and doina (Romania), among others.

This paper illustrates the gap between the perceived value of performer input in intangible heritage and how it is considered in the market, drawing on a large sample of flamenco in Spain. The method used is constructed from four different components: an analysis of the intellectual property legal framework to determine the scope of copyright and neighbouring rights, interviews with experts to explain in detail the flamenco work creation process, double system surveys to determine the perceived evaluation of its agents and contributions, and finally – through a multidimensional structural equations model – flamenco work’s perceived value-scale is validated through three dimensions: composition elements, feelings, and virtuosity. The results show how the perceived value of flamenco production critically depends on the externalisation accomplished by the performer through virtuosity. Nevertheless, copyright or royalties by no means ensure a level of protection that aligns with the key creative role of flamenco performers.

The article analyses the determinants of acquisition of flamenco albums. Flamenco is a musical genre recognized by UNESCO as intangible heritage of humanity. A methodology divided into three phases has been used for this purpose: firstly, interviews with experts from the Spanish music industry where new variables are identified that can affect flamenco consumption habits; then 586 surveys of flamenco spectators who valued these variables and, finally, the application of econometric models to obtain the coefficients of the variables. The results show how the valuation of the composition, the performer and its virtuosity, of the existing trends, and the sociodemographic characteristics of the spectators directly affect the acquisition of flamenco-recorded music. The article contributes to the scarce empirical literature that relates the determinants of recorded music acquisition with traditional popular genres, by adding never studied before variables, focusing on the case of flamenco. JEL Classification: C2; D2; Z1. MSC2010: 00A65; 00A66.

The article identifies factors related to the local context that influence the valuation of a local, traditional and internationally recognized music festival. Analyzing the case of Petronio Álvarez Pacific Music Festival held in Cali (Colombia), a valuation equation of the festival is estimated via an ordered probit model based upon microdata provided by a face-to-face survey (N = 1257). Results show that there are two key factors shaping the valuation of the festival: (i) previous experience of attending the festival, (ii) perceptions and expectations individuals have over the implications of the festival celebration (even if not participating), that is, the territory’s externalities (the creation of income and employment for the city) and personal benefits (cultural enrichment and enjoyment of a well-executed festival’s plan). Finally, our work provides policymakers with an instrument that reduces uncertainty about the characteristics of the festival, which can also be used as a managerial decision instrument based on empirical evidence about individuals’ perceptions.

This article analyzes the gap between the perceived value of the performer's contributions to the musical work and the treatment that it receives in the market. It applies to the case of flamenco in Spain. The proposed methodology is based on three approaches: a study of intellectual property laws; interviews with experts to differentiate among creative and humdrum agents; and finally, double system surveys to determine the perceived valuation of the contributions of such agents. The conclusions show how the flamenco performer develops a creative labor; however, it is not protected by copyright or via royalties, commensurate with its importance.