Capturing emotions: experience sampling at live music events

Abstract

Purpose – Using techniques developed mainly in subjective well-being and “happiness” studies, the purpose of this paper is to discuss the applicability of these and related methods for understanding and evaluating the emotional responses experienced within the live music event environment. Design/methodology/approach – The concept of “experience” is debated and set within the context of music events designed to create a specific type of emotional experience for the attendees. The main tools for researching experiences over a time period are considered focusing on the “experience sampling method” (ESM) (Csikszentmihalyi, 1997) and the “day reconstruction method” (Kahneman et al., 2004). These methods are critiqued in terms of their usefulness and practicality as research tools in the study of audience emotions. Findings – A revised method was then developed and a small-scale trial undertaken at a live music event, the results of which are presented and discussed. A conceptual model illustrating the interconnectedness of experience is introduced as an example of the application of the data gathered through this method to theory development. The paper concludes by reflecting on both the methodological appropriateness and practicality of ESMs as a way of gathering valuable data on the emotions engendered by events. Research limitations/implications – An obstacle yet to be overcome is using this data to predict attitudinal and behavioural change related to arts marketing goals. However, studies in other areas have clearly shown that emotional response is a significant indicator of future behaviour suggesting that the potential is there. Practical implications – The trialled method provides a useful starting point for better understanding the complexity of emotional effects triggered at live music events. Originality/value – The paper concludes that an adaptation of these methods has the potential to provide much needed rich and credible data on the feelings and emotional reactions triggered by different elements of a live event.

Exploring the Emotional Dimension of Visitors' Satisfaction at Cultural Events

“…By investigating satisfaction through emotional tools, the study responds to researchers' calls (Wood & Moss, 2015) for further consideration of human emotions in tourismrelated activities, which remain largely underexplored (Hosany & Gilbert, 2010). The study findings identify and promote the important, yet somehow neglected, role of senses in this process while pinpointing those precise emotions that may impact on satisfaction and metaexperience intentions.…”

“…Most significantly, perhaps, although the role of emotions in customer satisfaction has long been considered in the marketing literature (Martin, O'Neill, Hubbard, & Palmer, 2008) and, to a lesser extent, in tourism (Chatzigeorgiou, Christou, Kassianidis, & Sigala, 2009;del Bosque & Martin, 2008), it has by and large been overlooked in the context of events (Y. Lee, Lee, Lee, & Babin, 2008;Wood & Moss, 2015). Similarly, Prayag, Hosany, and Odeh (2013) called for a more holistic understanding of the role of emotions in tourist experiences while, more specifically, Hosany and Prayag (2013) called for further research into negative emotions and their relevance to tourist behavior.…”

“…Some propose only a short list, including happiness, sadness, anger, fear, and disgust; in contrast, others include nostalgia (Yeh, Chen, & Liu, 2012), contempt, interest, frustration, love, embarrassment, boredom, and even surprise (Kalat, 2011), although the latter is generally regarded as a cognitive reaction as opposed to an emotion (Spinoza, 1989 (Kalat, 2011;Parzuchowski & Szymkow-Sudziarska, 2008). Emotions have also been identified as a key determinant in transforming satisfaction into repeat (tourism) business (Chatzigeorgiou et al, 2009) while emotion-based satisfaction was found to be a better predictor of future behavioral intention than cognitive measures of satisfaction (Martin et al, 2008;Wood & Moss, 2015). In contrast, negative emotions experienced by festival attendees led to a sense of dissatisfaction and a direct weakening of intentions to revisit, pointing to a clear link between emotions, satisfaction and future intentions (Grappi & Montanari, 2011).…”

“…Nevertheless, White and Yu (2005) observed that tourism practitioners have much to gain by taking emotions into consideration, thereby potentially enriching the tourist experience and enhancing satisfaction and loyalty. Perhaps this is one of the main reasons that commentators stress the need for further research into the influence of emotions in tourism-related activities, including event attendance (Wood & Moss, 2015;Yan, Zhang, & Li, 2012). More specifically, Nawijn et al (2013) called for further research to identify those emotions that are most important in a tourism context.…”

Editorial

“…Music also continued to be studied in later volumes and address subjects such as emotions, behaviour, and technology. Wood and Moss (2015) examined the techniques found in subjective well-being and happiness studies and their applicability for understanding and evaluating emotional responses experienced in live music events that impact future behaviour. Gosling et al (2016) presented the findings of a longitudinal collaborative research project on the London Symphony Orchestra's branded smartphone app that was designed to engage and inform a student audience and sell discounted tickets.…”