Lost in music: mapping the 21st century house music event experience

Grebenar, Alex

doi:10.1080/19407963.2020.1727604

Cited by 4 publications

(12 citation statements)

References 46 publications

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“…At the centre of this discussion-indeed, the centre of much discussion within the event studies literature-is the very essence of the event: the experience. Understanding experience is central to understanding event design [15,[42][43][44], which is itself a central process in event management [45,46]. Event professionals in the contemporary industry must therefore consider the three aspects of experience, as noted previously, to ensure an event matches or exceeds consumer expectations [47].…”

Section: Event Experiencesmentioning

confidence: 99%

“…Indeed, this paper argues that this pandemic represents a significant opportunity for events to harness technology and create new viable and engaging event products. By examining how a house music brand [15] has adapted and endured during the pandemic, this potential to create experiences and develop these viable models of production/consumption will be examined with conceptual and empirical discussion towards a deeper understanding of how the virtual music events market is likely to endure and grow.…”

Section: Introductionmentioning

confidence: 99%

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Building the Virtual Dancefloor: Delivering and Experiencing House Music Events in the Time of COVID-19

Grebenar

2024

Tourism and Hospitality

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The COVID-19 pandemic and its consequent social lockdowns necessitated an immediate cessation of events, replaced entirely by virtual events—a concept present in the existing events literature, but one not fully conceptualised. This article explores the virtual event experience during the pandemic through the lens of a case study, Love to Be events, a long-established house music brand which produced a series of successful virtual events during the lockdowns and beyond. This research also offers discussion on the potential for virtual events—in contrast to what this research terms ‘venued events’—to become a notable and profitable element of the events industry in the longer term. This article presents a substantial literature review considering multiple relevant areas, centring on the event experience and virtual event potential. This article also presents primary qualitative data in the form of a semi-structured interview with Marc Dennis and Tony Walker, DJs and founders of Love to Be, conducted in Autumn 2020 via Zoom, and analysed using a thematic analysis as well as a comparison with other pandemic virtual events. The original contribution to the events studies literature is two-fold; firstly, a novel conceptualisation of event experience during this historic moment, documenting the practical and philosophical nature of events at that time. Secondly, by synthesising primary and secondary data, it offers theoretical principles on how virtual events may develop to become a notable and profitable element of the industry. This article concludes with suggestions for future research, in the hope that this exploratory research will stimulate further studies.

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Section: Event Experiencesmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Building the Virtual Dancefloor: Delivering and Experiencing House Music Events in the Time of COVID-19

Grebenar

2024

Tourism and Hospitality

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“…Emotions (positive or negative) play a significant role in the formation of memory (Chandralal & Valenzuela, 2013;Hosany et al, 2020). When consuming tourism experiences (unlike other products or activities), individuals primarily seek enjoyment; with emotions such as happiness, excitement, enjoyment, and surprise often featuring as part of tourist experiences (Knobloch et al (Moss et al, 2020), but even more so in the case of musical events (Grebenar, 2020); therefore, ideal platforms through which to reach visitors' emotional affiliations with a destination (Hosany et al, 2020). Novelty seeking, the need and desire to experience something new or "other" (Pearce, 1987), is a core part of travel experiences and is often derived through dimensions of culture (e.g., food, language, way of life) (Chandralal & Valenzuela, 2013).…”

Section: Memorable Event Experience Dimensionsmentioning

confidence: 99%

“…The physical presence of, and engagement with other event participants, is a key component of event experiences (Wreford et al, 2019). Studies on music events have indicated that it makes up the "social festivalscape" where interaction enhances the entertainment value and contributes to the atmosphere as well as a sense of community (Grebenar, 2020;Moss et al, 2020;Sun et al, 2019).…”

Section: Memorable Event Experience Dimensionsmentioning

confidence: 99%

“…Fulfilling this desire for meaning through leisure activities has received increasing research interest (Sirgy, 2019;Uysal et al, 2016) and has recently proven to be a significant distinguisher between event attendee segments (see Saragih & Amelia, 2020). Music events also contribute to subjective well-being through improved relationships with the "self" and others (Ballantyne et al, 2014), as well as spiritual fulfilment (Grebenar, 2020). Choir signing has proven to provide meaning by offering a challenge or accomplishment as well as overall emotional upliftment (Jacob et al, 2009;Tonneijck et al, 2008).…”

Section: Memorable Event Experience Dimensionsmentioning

confidence: 99%

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Hitting the Right (memorable Experience) Notes: A Typology of Performers at the World Choir Games

Preez

Kruger

2022

Event Management

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Tourism destinations actively pursue hosting a portfolio of events regularly, aiming to establish themselves as distinct host destinations. All of these events take place in unique contexts; offering diverse experiences to participant groups. Music festivals and concerts have attracted the interest of researchers given the diversity of musical styles and target audiences. Although being a globally popular musical style, choir events are however, underrepresented. This article describes participant segments of the World Choir Games held in South Africa; a first for the African continent. A post-event online survey was used to collect data from 384 performers. Psychographic variables were used to segment the groups (perceived event experiences, motivations, level of involvement and attachment, host city perceptions). Exploratory factor analysis identified two involvement, four motivational and five event experience dimensions. Hierarchical cluster analysis distinguished between three groups labelled as Choristers,Exploring aficionados and Followers. Across all segments, hedonia (enjoyment) remained the main motivator for participation. The first two segments had the same levels of involvement and attachment, as well as the desire to experience triumph and prestige associated with this worldclass competition. However, participants who had a greater interest in enjoyment, destination exploration, mastery and communitas, reported greater perceived experiences across alldimensions, and more positive host city perceptions. The third segment displayed significantly lower levels of motivation, experiences and host city perceptions. The results highlight experience dimensions that warrant further investigation in the context of performers as opposed to audiences. This knowledge assists event organizers to adapt event marketing and programmecontent for similar events.

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From theatrical elements to festival attendees’ perceived emotional synchrony: The perspective of interaction ritual chain theory

Xie

2023

Journal of Hospitality and Tourism Management

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Lost in music: mapping the 21st century house music event experience

Cited by 4 publications

References 46 publications

Building the Virtual Dancefloor: Delivering and Experiencing House Music Events in the Time of COVID-19

Building the Virtual Dancefloor: Delivering and Experiencing House Music Events in the Time of COVID-19

Hitting the Right (memorable Experience) Notes: A Typology of Performers at the World Choir Games

From theatrical elements to festival attendees’ perceived emotional synchrony: The perspective of interaction ritual chain theory

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