From pirates to subscribers: 20 years of music consumption research

Abstract

The last two decades have witnessed an increasing scholarly interest on music consumption. This interest can be explained, at least partly, to the relevance of music as a form of cultural consumption and the profound changes the sector has undergone. This paper performs a bibliometric analysis of the literature on music consumption research. In doing so, a database comprising 455 academic documents on the fields of business, economics, and management, was reviewed following a systematic procedure. Through it we identify the intellectual roots and the methodological evolution of the field. Furthermore, text mining was applied to analyse the themes included in the research agenda and their evolution. As a result, potential topics, approaches, and methods for future music consumption research are proposed.

Scientific procedures and rationales for systematic literature reviews (SPAR‐4‐SLR)

“…Montoro‐Pons et al's (2021) review on music consumption performs bibliometric analyses (e.g., co‐citation and bibliographic coupling) on 455 academic documents in business, economics, and management journals indexed in the WOS and published in the past 20 years. Their review highlights the prominence of the United States and the United Kingdom as countries that produce the most output and impact on music consumption research.…”

A transdisciplinary review and framework of consumer interactions with embodied social robots: Design, delegate, and deploy

“…The body of literature pertaining to robotics and HRI is broad in scope and incorporates a wealth of studies across a wide quality spectrum. In line with previous systematic reviews (e.g., Montoro‐Pons et al., 2021), we used the Web of Science (WOS) database to source only articles that reflect on our research questions and meet a minimum quality standard (e.g., Kapoor & Banerjee, 2021). The WOS database includes the main corpus of HRI research in diverse scientific fields published in scholarly qualified, peer‐reviewed journals (Antons & Breidbach, 2018).…”

Consumer value of virtual music festivals

“…The post COVID era is witnessing a "new normal" consumer, who is hybrid in his/her consumption preferences in creative arts (Nie et al, 2021). In fact, VMFs attendants are experiential consumers in omnichannel contexts (Montoro-Pons et al, 2021). We consume (music) digital services and attend performances, simultaneously in our (music) experience, but with different implications (see socialization).…”

“…Because of this new landscape, scholars and managers should question themselves on this cohabitation of live and VMFs (Christensen, 2022;Montoro-Pons et al, 2021), and consumer researchers should deep their understanding of the specificity of attending virtual festivals, both in streaming and with virtual reality.…”