Explanatory factors of university student participation in flamenco

J. M. De Sancha-Navarro, L. Palma, M. D. OIiver-Alfonso ISSN 2071-789X RECENT ISSUES IN SOCIOLOGICAL RESEARCH Economics & Sociology, Vol. 12, No. 4, 2019 130 EXPLANATORY FACTORS OF UNIVERSITY STUDENT PARTICIPATION IN FLAMENCO Jesús Manuel De Sancha- Navarro, University of Seville, Spain E-mail: [email protected] Luis Palma Martos, University of Seville, Spain E-mail: [email protected] María Dolores Oliver- Alfonso, University of Seville, Spain E-mail: moliv[email protected] Received: March, 2019 1st Revision: July, 2019 Accepted: November, 2019 DOI: 10.14254/2071- 789X.2019/12-4/8 ABSTRACT. The present work offers a study exploring University of Seville students’ cultural participation and how often they attend live flamenco shows. Based on the statistical yearbook of this university, a sample of 452 students from different fields was selected and, by applying a questionnaire, a binomial logit model and an ordered finance model were constructed. Our empirical findings offer descriptive, explanatory and predictive statistical results regarding participation and frequency. For example, the results evidence that 43% of the University of Seville students have never attended a live flamenco show and that one of the main issues influencing attendance is human and cultural capital. JEL Classification : Z1, C2 Keywords : cultural economics, cultural participation, demand for flamenco, logit model, flamenco, University of Seville Introduction It may seem surprising that 43% of university students in the city of Seville have never attended a live flamenco show. Two circumstances might lead us to find this rather striking: firstly, Seville is considered the world capital of flamenco, and secondly, this musical genre was recognised by the UNESCO as intangible world heritage in 2010. What are the reasons behind this lack of involvement? Adopting an econometric approach based on constructing a logit discrete choice model divided into two parts, one binomial and another ordered (hurdle model), we explore the determinants of this reality (Atoche, 2017; Lyashevska, Brus & van der Meer, 2016; Yang, Harlow, Puggioni & Redding, 2017). Data were gathered from an "ad hoc" survey conducted during the 2016-2017 academic year amongst 452 University of Seville students, affiliated to different faculties. Our research question could also have been posed in a positive way: what drives University of Seville students to consume flamenco as a product? A knowledge of which factors encourage participation, as well as those that limit it, may prove key to promoting flamenco, De Sancha-Navarro, J. M., Palma, L., & Oliver-Alfonso, M. D. (2019). Explanatory factors of university student participation in flamenco. Economics and Sociology, 12(4), 130-148. doi:10.14254/2071-789X.2019/12-4/8 J. M. De Sancha-Navarro, L. Palma, M. D. OIiver-Alfonso ISSN 2071-789X RECENT ISSUES IN SOCIOLOGICAL RESEARCH Economics & Sociology, Vol. 12, No. 4, 2019 131 particularly bearing in mind that over six thousand live flamenco shows are scheduled in Seville each year (Palma et al., 2017). The present work is motivated by the lack of studies of this type and thus aims to be a first contribution in this field, to the best of our knowledge After this introduction, the work is structured in the following sections. The first section, Participation in culture and flamenco, pursues a two-fold objective. Firstly, we review the most relevant literature on participation in live shows, focusing particular attention on music consumption by young people. Secondly, we add a brief note on the economics of flamenco in order to adequately contextualise the empirical work carried out within the framework of cultural economics. The second section contains the empirical study performed directly on participation. In the subsequent sections, the instrument used to obtain information and how it is obtained are presented. The econometric strategy is addressed in the third section, which also presents the models, selected variables with their justification and analysis of the results. The main conclusions are offered in the last section. 1. Participation in culture and flamenco 1.1. Cultural participation in live shows According to Bell & Oakley (2015) the definition of culture in most of the forms currently used emerged in the nineteenth century through two contrasting approaches: culture as a set of artistic practices or products and culture as anthropology. The present work is framed within the first approach, for which it is important to consider that participation statistics are a measure of how the population uses (demand) the cultural goods and services available (supply), a key aspect in demand studies of cultural goods and services, and which proves extremely useful for cultural policy. Such studies usually distinguish between simple participation (whether you attend or not) and frequency of participation (number of times you attend) (Aguado, 2010). Participation studies can be classified into two types; those based on surveys, addressing both specific attendance and participation, and econometric analyses that estimate the elasticities (price and income) of demand and the relative importance of other relevant variables (Corning & Levy, 2002). Much has been written about the factors that can limit cultural participation in the two types (Aguado & Palma, 2015). From the seminal work of Baumol & Bowen (1966), the explanation of the "participation gap", identified by the authors in the performing arts, but extendable to other cultural activities, has sparked the development of a wide theoretical and empirical literature. The 'participation gap' indicates that cultural participation is located in a small segment of the total population: the urban population with high levels of education and income. From the standpoint of cultural economics, the participation gap has been explained as a product of individual characteristics and the home environment vis-à-vis intergenerational transfer of cultural consumption skills. The traditional participation model approach links this to the different accumulation of capital for cultural consumption, which affects the relative efficiency with which cultural experience is produced (Ateca-Amestoy, 2008; Levy-Garboua & Montmarquette, 1996; Michael & Becker, 1973; Stigler & Becker, 1977). Ferilli & Sacco (2012) point out that cultural experience allows individuals to develop new skills that involve the expansion of their range of consumer products, and in which the creative and innovative component is fundamental. Based on a careful review of the theoretical and empirical literature, in Aguado & Palma (2015) the determinants of cultural participation are broadened to include the structural factors that limit it, beyond the characteristics of individuals and accumulated J. M. De Sancha-Navarro, L. Palma, M. D. OIiver-Alfonso ISSN 2071-789X RECENT ISSUES IN SOCIOLOGICAL RESEARCH Economics & Sociology, Vol. 12, No. 4, 2019 132 individual cultural capital. These factors would be linked to institutional and technological aspects that shape the social and economic valuation of cultural participation. Those identified are: the "costs disease" (Baumol & Bowen, 1966); Linder's observation with regard to the "harried idle class" (1970); the "rational bias against culture" (Scitovsky, 1976); investment in cultural consumer capital (Stigler & Becker, 1977); the cultivation of demand (Zakaras & Lowell, 2008), and the appreciation of cultural diversity (UNESCO, 2005). Aguado & Palma (2015) conclude that cultural participation is determined jointly by the typical variables of rational expectations models; ''rational action'' and “learning through consumption” and by a network of structural factors such as those mentioned above. Other authors who highlight certain aspects as being determinants of cultural consumption should also be mentioned. These include authors who highlight characteristics such as age, sex and socioeconomic level. For example, Favaro & Frateschi (2007) conduct an empirical analysis of the "patterns of cultural choice" in relation to musical consumption in Italy, in an effort to verify whether musical tastes are diversified. Based on the theoretical model of the demand for cultural goods proposed by Levy-Garboua & Montmarquette (1996) they found that age, gender, and education are important predictors of an omnivorous musical taste. Prieto & Fernández (2000) explore the differences between the consumption of classical music and popular music, and observe that there is an innate taste for both types, which in the case of popular music decreases with age, with the exception of the 30 to 45 year-old age range, and that parents’ educational level has a positive effect on listening to classical but not popular music. Herrera-Usagre (2012) attempts to empirically observe the relationships of download and purchase, and download and attend concerts in individuals’ behaviour, using the survey of habits of cultural practices (SGAE, Ministry of Culture, 2007), applying least squares linear regression and logistic regression. The conclusion is that the more recorded music individuals exchange, the more they will buy in physical format and the more likely they are to go to concerts. In addition, the author finds certain variables that influence both behaviours, such as educational level, age, socio-professional situation or the life cycle associated with paternity or maternity. In another work, the same author seeks to delimit which social characteristics have the greatest influence on cultural consumption habits, using theories of stratification. He finds evidence that cultural consumption continues to display characteristics of social stratification in contemporary Spanish society, and that practices considered to be "high culture" are associated with the best positioned strata (Herrera-Usagre, 2011). In contrast, other researchers focus more on cultural capital. Ateca-Amestoy (2009) discusses the relevance of human capital to explain differences in cultural consumption and estimates what effect the availability of this personal resource has on differences in attending cultural activities, using data from the United States Survey of Public Participation in the Arts for 2002. The conclusion is that people who have received some type of formal or specific education in the arts are more likely to attend a show. In a more recent article (Ateca-Amestoy & Villarroya, 2017), the importance of research in cultural participation studies in Spain is highlighted, providing an overview of the main sources of statistical information available on cultural participation, as well as some research undertaken over the last two decades. Using a logistic regression employing data from a survey conducted in 1997, Gray (1998) attempts to explore whether early exposure to the arts affects participation as an adult and if so to what extent, and finds that lessons improve participation and can control other influences, although it is not so clear as to whether the school is the best place for such lessons, perhaps because they may be ill equipped to offer the breadth and depth required to achieve such effectiveness. Falk & Katz-Gerro (2016) examine to what extent demographic and socioeconomic characteristics influence cultural consumption decisions using Probit models with data on J. M. De Sancha-Navarro, L. Palma, M. D. OIiver-Alfonso ISSN 2071-789X RECENT ISSUES IN SOCIOLOGICAL RESEARCH Economics & Sociology, Vol. 12, No. 4, 2019 133 350,000 people from 24 EU countries. The conclusion is that acquired characteristics, such as education and income, have notably similar positive effects on cultural participation in the countries sampled, while the effects of age and gender are both weaker and less consistent in all countries. In a recent work, Prieto, Pérez, & Suárez (2018) analyse cultural consumption according to taste or price and once again conclude that education is the factor which most influences cultural consumption, with the lack of interest being the main reason for not attending: hence the importance of a good early education. Finally, it should be pointed out that one feature of cultural participation through attending live shows is the large number of people who decide not to attend, a phenomenon to be taken into account in societies whose offer of cultural goods is supported by grants. This is why it is interesting to know which factors determine whether an individual participates or not (Ateca-Amestoy, 2009). In Spain, some studies have focused on cultural consumption. Prominent amongst these are the National Statistical Plan (2002-2003) and the survey of cultural habits and practices undertaken by the Spanish Society of Authors and Publishers (SGAE) and the Ministry of Culture, with several editions to its credit (Ateca-Amestoy & Villarroya, 2017). 1.2. Musical consumption in young people When analysing the cultural consumption of young people, we find numerous works related to this topic. Due to their importance for our study, we highlight those carried out by Ateca-Amestoy et al. (2017), Cuenca (2016), Fernández & Prieto (1997) and Terrazas-Bañales, Lorenzo, & González-Moreno (2013), which we comment briefly on below. In an effort to pinpoint what kind of scheduling initiatives are being undertaken by European opera houses to reach children and young audiences, Cuenca (2016) explored how young audiences evolve and concluded that creating such young audiences is a key part of the Creative Europe Program for the European Commission 2014-2020 horizon. The author also concludes that factors such as exposure at an early age and the importance of programmes that take into account the product received by young people are decisive factors. Ateca-Amestoy et al. (2017) reflect the importance of bringing music to the young through various incentives such as promoting formal education in the arts, both in primary and secondary education, or through public subsidies that foster consumption. As regards consumption preferences, for Terrazas-Bañales, Lorenzo & González-Moreno (2013), who studied the musical consumption of a group of 530 young students at the Autonomous University of Chihuahua (UACH) from 10 of the 15 faculties, the musical preferences of university students depend on their cultural baggage and what degree they are taking. Finally, based on the Class Structure, Consciousness and Biography Survey (ECBC-91), Fernández & Prieto (1997) study the consumption of some of the main cultural assets in Spain. They also analyse and quantify the influence exerted by various socioeconomic features to describe their demand and thus portray the average consumer profile. Except for the case of modern music, they conclude that consumption increases with age and university studies, and is greater among women than men. J. M. De Sancha-Navarro, L. Palma, M. D. OIiver-Alfonso ISSN 2071-789X RECENT ISSUES IN SOCIOLOGICAL RESEARCH Economics & Sociology, Vol. 12, No. 4, 2019 134 1.3. The economics of flamenco: A note Flamenco: a unique element of Andalusian cultural heritage Flamenco is a musical genre which, according to the Royal Spanish Academy 1 (RAE), can be defined as certain sociocultural manifestations generally associated with the gypsy people, and which has special roots in Andalusia. The most relevant features of flamenco is its consideration as an arte vivo due to its oral tradition (Heredia-Carroza, 2019) and was declared intangible heritage by UNESCO 2 on 16 November, 2010 in Nairobi (Kenya). Flamenco, as a set of cultural manifestations and a shared practice (Heredia-Carroza, Palma & Aguado, 2019b), holds a prominent place in the culture of Spain and even more so in Andalusia. In its area dedicated to culture, the regional government of Andalusia devotes one section to flamenco, which is considered “the symbol par excellence of our cultural identity: it is the art of our land, a symbol that identifies us as Andalusians both inside and outside our region” 3 . Reference is also made in said area to the existence of the Andalusian Institute of Flamenco, which researches, promotes and disseminates flamenco, and to the Andalusian Centre for Documentation of Flamenco, a historical reference that safeguards the conservation of flamenco through the important work of recovery, cataloguing and dissemination of cultural heritage. Article 68 of Organic Law 2/2007 of 19 March 4 addressing the reform of the Statute of Autonomy for Andalusia also states that the region holds exclusive competence regarding matters of knowledge, conservation, research, training, promotion and diffusion of flamenco as a unique element of Andalusian cultural heritage. Flamenco as a cultural asset: an approach to its supply and demand Focusing on the economics of flamenco, we concur with Ortega (2006) who states that the importance of flamenco in all its meanings is undeniable in the development of Andalusia’s cultural industry, and is key to Spain’s image overseas, being an exportable product. In addition, a study carried out by the Ministry of Tourism confirms that flamenco is one of the main motivations for visiting Andalusia, with the most attractive being singing and dancing (Turismo Andaluz, 2004). Flamenco is thus inextricably linked to Andalusian culture. Seville, where our empirical work was carried out, is one of the main centres for its development, and is where there has been sustained growth recently in terms of its supply (Palma et al. al., 2017). In fact, the great international event of the world of flamenco, La Bienal, takes place every two years in Seville, where fans and professionals from all over the world meet (Heredia-Carroza, Palma & Aguado, 2019a). Although it is a complex cultural asset where diverse areas of cultural economics merge, in its three facets of cante, baile and toque, flamenco can generally be approached from a twin perspective: first, as a live show and, second, as a cultural or creative product (Palma et al., 2017). Following these authors, from the supply standpoint, in addition to its impact on tourism and the creation of wealth and employment, consideration should be given to the different types of show as well as to the specific nature of the companies or institutions that offer it and the type of market in which it is available. These authors made a study on the supply of flamenco in the period 2006-2013, in Seville. The resulting information regarding live shows (of 1 http://lema.rae.es/drae/srv/search?id=rl6iFrYC9DXX2h7vWIFr. Accessed on 10 August 2017 2 http://www.unesco.org/culture/ich/index.php?lg=es&pg=00011&RL=00363. Accessed on 10 August 2017. 3 http://www.juntadeandalucia.es/organismos/cultura/areas/flamenco/programas-flamenco.html. Accessed on 10 August 2017. 4 https://www.boe.es/buscar/act.php?id=BOE-A-2007-5825. Accessed on 10 August 2017. J. M. De Sancha-Navarro, L. Palma, M. D. OIiver-Alfonso ISSN 2071-789X RECENT ISSUES IN SOCIOLOGICAL RESEARCH Economics & Sociology, Vol. 12, No. 4, 2019 135 particular interest for our work) reveals that between 2006 and 2013 the number of shows increased from 3,891 to 6,797, thus reflecting its sustained growth 5 . Other earlier works, such as Cantero & Hernández (2009), also focus on supply. These authors examine the supply of flamenco in Seville through festivals, clubs, and other aspects like public funding and activities in related industries such as tourism, fashion, musical instruments or recorded music. They offer global figures of the monetary value of this economic activity: Andalusian peñas (groups of friends who form an association) move almost €3 million, recorded music sales amount to around €30 million, income from flamenco tourism produces over €300 million, and festivals, such as La Bienal in Seville, bring in around €3 million. In this line, we can also cite the work by Ruiz & Pérez (2011) carried out for the regional government, which seeks to propose a table of basic indicators that sum up the main economic parameters of flamenco, and which confirms the above data. It also reports that flamenco tourism involves some 700,000 people and generates around €550 million in spending. All of these studies highlight the difficulty of obtaining data and, in many cases, force estimations to be made using calculations or approximate assumptions. All of this serves to reflect the usefulness of empirical works such as the present one. From the demand standpoint, little information has been found. However, Table 1 does provide some data obtained from the latest available survey on consumer habits (Ministry of Education, Culture and Sports, 2015). Mention should also be made of Fernández, Pérez & Prieto (2017), who through a cluster analysis, identify 12 types of music listeners, and conclude the importance of education and exposure to art at a very early age. They also found that those who consume most flamenco are those with the lowest educational level. Recently, Heredia- Carroza, Palma and Marín (2020) in a similar work show how variables such as educational level, the way the music is listened or the valuation of the performer, amongst others, have an influence on the attendance frequency to flamenco live shows. Table 1. Data on flamenco consumption (2014-2015) Relevant data on flamenco consumption Percentage Attendance rate at flamenco shows 17.9% Musical preference rate for flamenco amongst those attending concerts in general 3.8% Musical preference rate for flamenco amongst those who listen to music at least once each three months 2.5% Percentage of the population who engage in some form of flamenco dancing 1.7% Source: Ministry of Education, Culture and Sports (2015). Own elaboration Finally, it is interesting to highlight the data offered by the Yearbook of the General Society of Authors, according to which flamenco, with 7,758 shows, ranks second in terms of concerts performed behind pop-rock. Madrid followed by Andalusia were the regions with the greatest weight. Specifically, in Andalusia (2015 data) 15% of the shows offered that year were flamenco. As regards the number of spectators, and as a result of the crisis, in recent years there has been a general decrease in the number of attendees, which in the case of flamenco has been 25.6%. In Andalusia, the number of flamenco spectators in 2015 came to 625,875, representing 15.4% of the total number of those who attended music shows and accounting for 9.8% of all revenue from music shows. 5 Flama, the Flamenco Guide, a publication that has been providing information on live available flamenco shows since 2006, was used as the basis. J. M. De Sancha-Navarro, L. Palma, M. D. OIiver-Alfonso ISSN 2071-789X RECENT ISSUES IN SOCIOLOGICAL RESEARCH Economics & Sociology, Vol. 12, No. 4, 2019 136 2. Methodological approach 2.1. Dataset and objectives The analysis of the work we present is framed within a quantitative approach using the survey method 6 . For this, we first designed a questionnaire and then selected the sample, in accordance with the data offered by the latest available University of Seville statistical yearbook (2014-15). Taking into account that the total number of students enrolled at the university’s own centres was 55,382, for a confidence level of 95.5% and a margin of error of 5%, the resulting sample needed to be at least 400 individuals 7 . We thus calculated the weight percentage of students for each of the five areas (Health Sciences, Science, Engineering and Architecture, Social and Legal Sciences, Arts and Humanities), as can be seen in Table 2, which gave us the approximate number of respondents required for each area, although we finally obtained a greater number of surveys (452). It should be noted that selection within the areas was totally random. Table 2. Data for sample selection Percentage of weight by area, depending on students Number of questionnaires required Questionnaires finally completed by degree Health Sciences 8,069 students (14.57%) 58 Odontology (41) Pharmacy (44) Sciences 3,532 students (6.39%) 26 Mathematics (35) Social and Legal Sciences 21,987 students (39.7%) 158 Primary School Education (44) Finance-Accounting (53) Economics (14) Pedagogy (50) Business Administration (22) Engineering and Architecture 16,278 students (29.39%) 118 Engineering (80) Architecture (20) Arts and Humanities 5.516 students (9.96%) 40 Fine Arts (49) TOTAL 55,382 students (100%) 400 452 Source: own, in accordance with the University of Seville year book (2014-15). With regard to all of the above, this work pursued a series of objectives, which we sum up as follows: Objective 1: to know the determinants of University of Seville student attendance or participation in flamenco shows and their importance. Objective 2: to ascertain awareness of, interest in and consumption of flamenco and the reasons for not attending. 6 Available upon request from the authors 7 http://www.netquest.com/es/panel/calculadora-muestras/calculadoras-estadisticas.html J. M. De Sancha-Navarro, L. Palma, M. D. OIiver-Alfonso ISSN 2071-789X RECENT ISSUES IN SOCIOLOGICAL RESEARCH Economics & Sociology, Vol. 12, No. 4, 2019 137 3. Conducting research and results 3.1. The dependent variables Participation statistics are a measure of how the population uses (demand) the cultural goods and services available (supply), since "a very important aspect of the demand studies of cultural goods and services, and which proves extremely useful for cultural policy, concerns the distinction between mere participation (attendance or not) and frequency of participation (number of times it is attended)" (Aguado, 2010: 133). When using regression models, the main objective of econometric evidence is therefore to confirm or otherwise the variables that are linked to demand or cultural participation in live flamenco shows by University of Seville students. This then provides insights into the motivations for attending, satisfaction, as well as the impact of cultural capital and other socioeconomic features (Fernández & Prieto, 1997). For this research, we propose two models, one that studies attendance or not at live flamenco shows and another that examines frequency of participation, which are the two dependent variables in this study. In the first case, it is a binary or dichotomous return variable, which can only take two possible values, yes or no, and in the second case, a variable that can take three values in an orderly manner: occasional, frequent or regular. In this type of qualitative response regression model, a cumulative distribution function is used that, depending on its type (logistic or normal), gives rise to a Logit or Probit model, which are both very similar (Gujarati & Porter, 2010). 3.2. Independent variables Taking into account the information provided by the questionnaires and the bibliography consulted, we propose a series of explanatory variables grouped according to whether they belong to personal factors or characteristics, socioeconomic profile, cultural capital and external factors, as can be seen in Table 3. Table 3. Definition of the variables DESCRIPTION OF THE VARIABLES MEASURE Dependent variables Does or does not attend live flamenco shows 1= Yes; 0= No How often these shows are attended 1= Occasionally (1-5 times) 2= Fairly often (6-10 times) 3= Regularly (more than 10 times) Explanatory variables Sex 1= Male; 0= Female Place of origin 1= Andalusia 2= Not resident in Andalusia Monthly income 1= 51-100€ 2= 101-200€ 3= Over 200€ Area of study at the University of Seville 1= Sciences 2= Engineering and Architecture 3= Social and Legal Sciences 4= Health Sciences 5= Arts and Humanities Current studies 1= First year 2= Second year J. M. De Sancha-Navarro, L. Palma, M. D. OIiver-Alfonso ISSN 2071-789X RECENT ISSUES IN SOCIOLOGICAL RESEARCH Economics & Sociology, Vol. 12, No. 4, 2019 138 3= Later Educational attainment of the father 1= Did not finish primary education 2= Finished primary or compulsory secondary education. 3= Finished upper secondary education or vocational training 4= University degree Attended flamenco shows as a child 1= Yes; 0= No Family involvement with flamenco 1= None 2= Little 3= Some 4= A lot Has read about flamenco 1= Yes; 0= No Often listens to flamenco 1= Yes; 0= No Attends other kinds of music concerts 1= Yes; 0= No Knows that flamenco is listed as world heritage 1= Yes; 0= No Has heard of the Andalusian Institute of Flamenco 1= Yes; 0= No Has heard of CICUS (University of Seville Cultural initiatives center) 1= Has not heard of CICUS 2= Has heard of CICUS and has attended a live show 4= Has heard of CICUS but is not interested in its programme Degree of familiarity with flamenco 1= None 2= Little 3= Some 4= A lot Source: own Following Andrade (2016), in order to propose a demand function for live flamenco by a University of Seville student at time t (Dti), this function would thus be given in our case by: Yti = Dti = Fti (gender, place of origin, monthly income, area of study at the University of Seville, current year in the degree, father’s educational background, attending flamenco shows as a child, degree of family contact with flamenco, having read about flamenco, regularly listening to flamenco, attending other different music shows, knowing that flamenco is world heritage, knowing about the existence of the Andalusian Institute of Flamenco, having heard of CICUS, knowledge of flamenco). 3.3. Application of logistic regression model As stated earlier, we propose two models for this research, one exploring attendance or not at live flamenco shows and another analysing frequency of participation. In fact, it is a twopart or "hurdle" model (Atoche, 2017, Lyashevska et al., 2016, Yang et al., 2017). These are two-component models: a first binary choice component, and a truncated count model, such as the ordinal logit model, used for positive counts. Specifically, the two-part model combines a count data model ʄ_count (y; x, β) (truncated to the left at y = 1) and a binomial model ʄ_binomial (Y; z, γ) (truncated to the right at y = 1). 𝑓hurdle(y; x ,z,  ,)={𝑓zero (0; z, ) if 𝑦=0 (1−𝑓zero (0; z, ) )𝑓count (y; x, )/(1−𝑓count (0, x, )) if 𝑦>0 J. M. De Sancha-Navarro, L. Palma, M. D. OIiver-Alfonso ISSN 2071-789X RECENT ISSUES IN SOCIOLOGICAL RESEARCH Economics & Sociology, Vol. 12, No. 4, 2019 145 References Aguado, L. F. (2010). 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