Not just every user of mobile music streaming shares the same characteristics: A classification analysis of mobile network operator subscribers in Germany

Gerpott, Torsten J.; Meinert, Phil

doi:10.1016/j.tele.2019.01.008

Cited by 7 publications

(3 citation statements)

References 52 publications

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“…Research on the use of television streaming services has examined how people watch multiple episodes in succession -that is, "binge-watching" or "marathon viewing" (Merikivi et al, 2018;Pittman & Sheehan, 2015;Steiner & Xu, 2018;Sung et al, 2018). Others study adoption and use of new formats for watching television (Leung & Chen, 2017;Oyedele & Simpson, 2018;Tefertiller, 2018) or find that users of music and television streaming services tend to be younger and male (Gerpott & Meinert, 2019;Leung & Chen, 2017;Li, 2020). Similar patterns are found in statistics on use of online distributed music and television in Norway (Schiro, 2020).…”

Section: Introductionmentioning

confidence: 99%

Towards streaming as a dominant mode of media use?A user typology approach to music and television streaming

2021

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Music and television streaming services present users with abundant catalogues of content available on demand. We investigate whether users respond by narrowing or widening the diversity of content they consume. Further, we examine how the different logics characterising music and television streaming are mirrored in the number of streaming services people use. To do so, we compare non-, sporadic, regular, and frequent users of television and music streaming services. Findings from a cross-sectional survey in Norway show that frequent streamers consume a wider variety of genres and rely on more services. Our results also indicate that streaming has gone from a first-mover activity to a standard consumer mode. This study indicates that we can expect continued growth in television streamers, whereas the music streaming industry seems more consolidated.

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Section: Introductionmentioning

confidence: 99%

Towards streaming as a dominant mode of media use?A user typology approach to music and television streaming

2021

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“…On this basis, Pura developed a perceptual value model for studying mobile services by adding conditional value (time sufficiency, location proximity, equipment conditions, etc.) and epistemic value (curiosity and novelty) [13][14][15].…”

Section: Relevant Study On Perceived Value Theorymentioning

confidence: 99%

A Study on the Influencing Factors of Mobile Digital Music Selection in Subhealthy People Based on Perceived Value Theory

Jiang

Liming

Zhang

et al. 2021

Wireless Communications and Mobile Computing

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Background. The mode of combining mobile terminals and mobile digital music has gradually entered a bottleneck period while promoting the development of the mobile terminal industry. Proposing personalized solutions for specific groups of people including subhealthy people has become the current direction for the further long-term development of this mode. Understanding the influencing factors that affect subhealthy people’s selection of mobile digital music is an urgent problem that needs to be solved in the development of personalized solutions. Objective. This article analyzes the influencing factors of the purchase intent to buy mobile digital music for subhealthy people and provides suggestions for mobile terminal vendors on how to design personalized solutions for this group of people. Methods. In order to achieve the above goals, this article constructs an influencing factor model based on the theory of perceived value, collects data by means of questionnaires, and uses the method of structural equations to verify the proposed model. Results. The results show that perceived quality, perceived price, social value, and emotional value all have a significant effect on users’ purchase intention. Meanwhile, the conditional value and epistemic value have a negative moderating effect on the relationship between the social value and subhealthy people’s digital music purchase intention but strengthen the positive relationship between the emotional value and subhealthy people’s digital music purchase intention. Conclusions. The analysis shows that mobile terminal vendors should have their own unique attitudes and feelings when designing personalized mobile digital music solutions for subhealthy people, clarify their position, find strategies to improve the experience of subhealthy people, and win the reputation of subhealthy people. Let subhealthy people have a sense of belongingness.

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“…. [become] a fan of everything and yet a fan of nothing' (Jones, 2015: 34), neglects nuances/ differences/distinctions of taste in online music consumption and the array of digital audiences (Gerpott and Meinert, 2019;Hagen and Lüders, 2017). That there is a lack of tangible socialisation online compared to offline shows (Bennett, 2015: 9-10;Harper, 2015: 23) fails to see how fans engage with each other through social media that supports inclusion and community growth (Baym, 2007;Bennett, 2012b;Kent and Ellis, 2015).…”

Section: Live Music and Digital Mediamentioning

confidence: 99%

Staying in, rocking out: Online live music portal shows during the coronavirus pandemic

Rendell

2020

Convergence: The International Journal of Research into New Med

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The 2020 Covid-19 global pandemic has greatly impacted societies around the world, where governmental strategies to curb and control the outbreak have resulted in citizens being unable to attend public businesses and spaces. For musicians who rely on touring as a dominant part of their income, the pandemic has had a hugely negative effect on their finances since they can no longer play face-to-face shows. However, a number of artists have turned to digital media to remedy this, performing online to audiences via Web 2.0 platforms. To better understand this cultural phenomenon, the article introduces the concept of portal shows that employ a converge between traditional live gigs, screen media and new media technologies. Analysing the textual, affective, performative and economic dynamics of portal shows, the article examines three differing case studies: Code Orange’s album release show on Twitch.TV, Beach Slang’s acoustic performance on StageIt and Delta Sleep’s in-store show on Instagram. In doing so, the article argues portal shows offer novel and nuanced ways artists and audiences can engage with one another through spatial convergence afforded by video streaming technologies and digital interfaces. Such live events also offer just-in-time fan engagement but does so within a digital transcultural remit, aiding the support of virtual scenes. As a result, the article expands on what is considered pandemic media and subsequent audience affective registers and enriches the study of the music industry’s engagement with digital media and wider convergence cultures more generally.

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Not just every user of mobile music streaming shares the same characteristics: A classification analysis of mobile network operator subscribers in Germany

Cited by 7 publications

References 52 publications

Towards streaming as a dominant mode of media use?A user typology approach to music and television streaming

Towards streaming as a dominant mode of media use?A user typology approach to music and television streaming

A Study on the Influencing Factors of Mobile Digital Music Selection in Subhealthy People Based on Perceived Value Theory

Staying in, rocking out: Online live music portal shows during the coronavirus pandemic

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