Introduction: Directions in Music Fan Research: Undiscovered Territories and Hard Problems

Duffett, Mark

doi:10.1080/03007766.2013.798538

Cited by 12 publications

(15 citation statements)

References 7 publications

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“…It is a process that shifts classical understandings of music fandom from the study of a song or artist and toward something more nebulous and recursive: an unending stream of activities and contexts in which music fans are hailed to incorporate sound into their daily lives to generate more data about fans' everyday use of music. (p. 361) Scholars have also documented the increasing exploitation of fandom via digital entanglements (Coppa, 2014;Duffett, 2013;Keltie, 2017;Stanfill, 2019). Duffett (2013) shows how the culture industry uses Twitter as "drive-by media," while Keltie (2017) suggests how "authorised participation" arranges fans in such a way that they must continuously negotiate power with the intermediaries in which and by which they engage under the liberatory ruse of user-generated content.…”

Section: Participatory Entanglementsmentioning

confidence: 99%

“…(p. 361) Scholars have also documented the increasing exploitation of fandom via digital entanglements (Coppa, 2014;Duffett, 2013;Keltie, 2017;Stanfill, 2019). Duffett (2013) shows how the culture industry uses Twitter as "drive-by media," while Keltie (2017) suggests how "authorised participation" arranges fans in such a way that they must continuously negotiate power with the intermediaries in which and by which they engage under the liberatory ruse of user-generated content.…”

Section: Participatory Entanglementsmentioning

confidence: 99%

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Noise over signal

Williams

Luther

2020

SoundEffects

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While participatory culture has been of special interest to scholars for nearly three decades, much of the focus has centered on digitally networked contexts. The digital age has indeed transformed our approaches to listening to music and how we operate as fans of music; these approaches can weave together the new and the old, and are enacted among a variety of spaces, objects, and relationships. We explore how the re-emergence of one such object in the digital age — the LP — has produced social arrangements that perhaps excavate older listening practices but do so in ways that have been affected by the mediascape more generally. We offer the concept of phonography culture: a term that emphasizes the social practices of those who not only curate and collect vinyl records but communicate through them in participatory activities including listening parties, vinyl nights at local bars, Facebook groups, and sites of e-commerce. We share the case study of Record Nite, a semi-regular gathering of phonography culture participants, who take turns playing one side of an LP on a given theme, revealing in their fandom and reveling in and encouraging that of others. Over the course of an evening, ten to twenty friends connect over their own “noise” — their experiences, histories, and knowledge of artists, albums, and genres—while simultaneously listening to LPs together. These phonographic, cultural interactions are revelatory because they draw our attention away from individualized and digital listening, which isolate signal, and make space for social and aural noise. That noise is infused with fandom and participation, as well as elements of memory, meaning making, and nostalgia. NB: The article contains sound examples. In order to listen to embedded audio files, you must first download the pdf file and then open it with Adobe Acrobat.

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Section: Participatory Entanglementsmentioning

confidence: 99%

Section: Participatory Entanglementsmentioning

confidence: 99%

Noise over signal

Williams

Luther

2020

SoundEffects

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“…Stoga je uputno poimati suvremenu glazbu kao jedan od elemenata unutar konstrukcije druš-tvenog kapitala, kao način na koji pojedinac seže van individualnog identiteta i oblikuje novi, zajednički, stvarajući pritom osjećaj pripadnosti određenoj zajednici, oblikujući zajednički identitet (Wright, 2012.). Taj kolektivni karakter prisutan je i u oblikovanju internetskih zajednica te interakcije unutar njih, pri čemu već postojeći obožavatelji rado dočekuju nove, uključuju ih u svoje aktivnosti i svakodnevnicu (Duffett, 2013.). Nadalje, Finnegan ističe važnost predanosti ljudi glazbi ili glazbeniku prilikom konstrukcije individualnog i grupnog identiteta, dočim se Crafts i suradnici usmjeravaju na aspekt emocionalne uključenosti pojedinaca u glazbeni žanr ili glazbenika kojeg slušaju i slijede, koji doprinosi izgradnji osjećaja sebstva i odnosa s drugima (Finnegan, 1989.…”

Section: S O C I O L O G I J a I P R O S T O Runclassified

Osobne značajke i životni ciljevi grupe obožavatelja Cellogirls

Gutović

Ercegovac

2017

SIP

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“…This allows diverse actors (e.g., advertisers, platform owners, content distributors) to profit from users' activities, i.e., so-called free labour (cf. Hesmondhalgh, 2010;Morris, 2014;Terranova, 2000), but it simultaneously offers people experiences of community, belonging, and joy (Baym, 2018;Duffett, 2013). Promotional transmedia music campaigns are such hybrid spaces of online and offline practises mixing commercial and cultural expressions to form materialised instances of promotional culture.…”

Section: Introductionmentioning

confidence: 99%

Mapping Transmedia Marketing in the Music Industry: A Methodology

Bengtsson

Edlom

2021

MaC

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Over the last decade, the music industry has adapted its promotional strategy to take advantage of the fluid, contemporary, platform-based transmedia landscape. For researchers of contemporary culture, the multiplicity of promotional activities creates substantial methodological challenges. In this article, we present and discuss such methodological approaches using two studies of contemporary promotional music campaigns as illustrative cases. Inspired by digital and innovative methods and guided by the Association of Internet Researchers’ (AoIR’s) ethical guidelines, we developed two data collection strategies—reversed engineering and live capturing—and applied two analytical approaches—visual mapping and time-based layering. The first case study traced already staged music marketing campaigns across multiple online media platforms, and the second followed an online promotional campaign in real time for six months. Based on these case studies, we first argue for the importance of grounded manual capturing and coding in data collection, especially when working around data access limitations imposed by platforms. Second, we propose reversed engineering and live capturing as methods of capturing fragmented data, in contemporary promotional campaigns. Third, we suggest the visual mapping and time-based layering of data, enabling researchers to oscillate between qualitative and quantitative data. Finally, we argue that researchers must pool their experiences and resources regarding how to transcend platform limitations and question a lack of transparency while respecting ethical norms and guidelines. With these arguments, we assert the researcher’s necessary role in understanding and explaining the complex and hybrid contemporary promotional landscape and provide tools and strategies for further research.

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Introduction: Directions in Music Fan Research: Undiscovered Territories and Hard Problems

Cited by 12 publications

References 7 publications

Noise over signal

Noise over signal

Osobne značajke i životni ciljevi grupe obožavatelja Cellogirls

Mapping Transmedia Marketing in the Music Industry: A Methodology

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