The determinants of football match attendance revisited: Empirical evidence from the Spanish Football League

An attendance equation is estimated using data on individual games played in the Spanish First Division Football League. The specification includes as explanatory factors: economic variables, quality, uncertainty and opportunity costs. We concentrate the analysis on some specification issues such as controlling the effect of unobservables given the panel data structure of the data set, the type of functional form and the potential endogeneity of prices. We obtain the expected effects on attendance for all the variables. The estimated price elasticities are smaller than one in absolute value as usually occurs in this literature but are sensitive to the specification issues.Attendance, price elasticity, panel data

Towards Syntactic Iberian Polarity Classification

Lexicon-based methods using syntactic rules for polarity classification rely on parsers that are dependent on the language and on treebank guidelines. Thus, rules are also dependent and require adaptation, especially in multilingual scenarios. We tackle this challenge in the context of the Iberian Peninsula, releasing the first symbolic syntax-based Iberian system with rules shared across five official languages: Basque, Catalan, Galician, Portuguese and Spanish. The model is made available.Comment: 7 pages, 5 tables. Contribution to the 8th Workshop on Computational Approaches to Subjectivity, Sentiment and Social Media Analysis (WASSA-2017) at EMNLP 201

Synthesis, characterization and performance of robust poison-resistant ultrathin film yttria stabilized zirconia – nickel anodes for application in solid electrolyte fuel cells

We report on the synthesis of undoped ∼5 μm YSZ-Ni porous thin films prepared by reactive pulsed DC magnetron sputtering at an oblique angle of incidence. Pre-calcination of the amorphous unmodified precursor layers followed by reduction produces a film consisting of uniformly distributed tilted columnar aggregates having extensive three-phase boundaries and favorable gas diffusion characteristics. Similarly prepared films doped with 1.2 at.% Au are also porous and contain highly dispersed gold present as Ni-Au alloy particles whose surfaces are strongly enriched with Au. With hydrogen as fuel, the performance of the undoped thin film anodes is comparable to that of 10–20 times thicker typical commercial anodes. With a 1:1 steam/carbon feed, the un-doped anode cell current rapidly falls to zero after 60 h. In striking contrast, the initial performance of the Au-doped anode is much higher and remains unaffected after 170 h. Under deliberately harsh conditions the performance of the Au-doped anodes decreases progressively, almost certainly due to carbon deposition. Even so, the cell maintains some activity after 3 days operation in dramatic contrast with the un-doped anode, which stops working after only three hours of use. The implications and possible practical application of these findings are discussed.European Union 298300Ministerio de Economía y Competitividad MAT2013‐40852R, 201560E05

A New Look at Ribera’s Missa Sine Nomine and Devotional Motets

UID/EAT/00693/2019Este artigo analisa a obra sacra de Antonio de Ribera (m. 1527?) e a sua relação com a música de Alonso Pérez de Alba (m. 1504). Os dois compositores cruzaram os seus percursos na Catedral de Sevilha. Alba integrou a Catedral como cantor em 1482 e, mais tarde, tornou-se mestre de capela e mestre do coro, até à sua saída em 1497; e há registos de Ribera como jovem cantor da catedral entre 1496-8. A escassez de documentação dificulta a percepção sobre a real natureza da relação entre ambos. Contudo, tendo em conta que a carreira de Alba estaria numa fase mais avançada quando se conheceram, é seguro presumir que este terá influenciado Ribera. A análise da música sacra preservada da autoria de Ribera (a Missa sine nomine e dois motetes devocionais) valida esta hipótese. O estilo dos dois compositores é consideravelmente semelhante no que se refere à linguagem de contraponto e aos detalhes de composição. Contudo, o tamanho limitado da amostra e a funcionalidade específica destas peças impede-nos de determinar até que ponto as semelhanças resultam da influência directa de Alba ou da tradição musical da Catedral de Sevilha. Para contextualizar a análise musical, este artigo revê numa perspectiva historiográfica a biografia de Ribera e as diversas atribuições (e falsas atribuições) das suas peças, no sentido de clarificar também alguns casos em que música será provavelmente da autoria do compositor mais tardio, Bernardino de Ribera.publishersversionpublishe

Imitation in Iberian Motets around 1500

UID/EAT/00472/2013In their illuminating examination of the development of ‘pervasive imitation’ (2015) in polyphonic music, Julie Cumming and Peter Schubert dissect how this technique developed to become a defining feature of the whole European music language in the 16th century. By analysing the pieces contained in the first five books of motets ever printed (issued by Petrucci in the first decade of the 16th century) the authors aim at undertaking a comprehensive examination of the European music style of the time. Their claim at completeness, however, is marred by the fact that there is 85 not a single Iberian motet among the pieces analysed. This surely unintended exclusion is easily explained: there are no Iberian motets in Petrucci’s books because virtually all Iberian motets of this age were transmitted in manuscript. This paper will look at a substantial selection of Iberian motets, compiled in the manuscript 2/3 of Tarazona Cathedral, one of the largest repositories of Iberian music from the first decades of the 16th century. It will examine the different types of imitative patterns and how they work within the whole contrapuntal weaving, comparing them to the techniques employed in coeval repertories, as described by Cumming and Schubert.publishersversionpublishe

Sebastián Raval’s Motecta (1600)

UID/EAT/00693/2013 PTDC/CPC-MMU/0314/2014‘Still another book of small-scale motets: Sebastián Raval’s Motecta (1600)’ Lodovico Viadana’s Cento concerti ecclesiastici (Venice: Giacomo Vincenti, 1602), a collection of small-scale motets with basso continuo, is still considered ‘chronologically the first publication to include a basso continuo with sacred vocal music’. It has become the epitome of the advent of the Baroque in Italian sacred music. But, as has been argued in recent times, both the basso continuo and the concertato style were used at the end of the Renaissance all over Italy. Furthermore, there are examples of books with similar scope prior to Viadana’s [such as Asprilio Pacelli’s Chorici psalmi et motecta quatour vocum. Liber primus (Rome: Niccolò Muzi, 1599), and Gabriele Fattorini’s I sacri concerti a due voci ... co'l basso generale per maggior commodità de gl'organisti (Venice: Riccardo Amadino, 1600)]. Probably because these books do not fit comfortably into the geographical boundaries and periodization of the Baroque (traditionally understood as a development of North Italian origin occurred in the seventeenth-century), they have received little attention until recently. This paper seeks to examine another book of small-scale motets, Sebastián Raval’s Motecta selecta organo accomodata (Palermo: Giovanni Antonio de Franceschi, 1600). This almost unknown publication is one of the first solo-motet volumes with thoroughbass ever published. Although only one partbook is extant, it provides yet another piece of evidence that this avant-garde language was known even in a remote parts of Italy at least two years before Viadana’s Cento concerti was published.publishersversionpublishe

Construcció programada de polígons i poliedres moleculars i cinc cèntims de les seves aplicacions

En aquest article s'explica com les reaccions d'autoassemblatge (self-assembly) permeten la construcció racional i programada de molts metal·lomacrocicles o espècies discretes amb geometries poligonals o polièdriques. En una segona part, s'expliquen breument algunes de les aplicacions d'aquestes noves supramolècules com són la seva capacitat per a actuar com a anoreactors, catalitzadors, sensors o tamisos moleculars.This paper shows how self-assembly reactions allow the building up of a wide range of metallomacrocycles (polygonal and polyhedral species) in a rational and programmed way. The second part presents a brief survey of some of the applications of these new supramolecules such as cavity-directed synthesis, catalysis, sensing or molecular sieving

Pioneras de la imagen y construcción social de género: un recorrido por la (des)memoria visual

La comunicación que les presentamos parte de la constatación de la falta de memoria y referentes sobre la genealogía de las mujeres cineastas. Pretende revisar la historiografía actual haciendo visible la biografía y filmografía de las mujeres que fueron cineastas a los inicios de la Historia del Cine Español, haciendo un recorrido por la situación histórica que deshizo esta incipiente profesión debido a las construcciones sociales de género imperantes en la época. Las mujeres han sido profesionales de la industria del cine desde sus inicios, pero su aportación a la memoria visual no ha sido incluida en el patrimonio cultural mundial. Analizaremos las causas de esta invisibilización, daremos valor a su trabajo y reivindicaremos su impacto artístico y documental en el mundo del cine, trayectorias que han ido de la mano de los cambios históricos y las construcciones sociales de género de finales del siglo XIX y principios de los XX