What’s my scene

Jones, Angela

doi:10.1016/b978-0-08-100067-0.00003-8

Cited by 5 publications

(4 citation statements)

References 10 publications

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“…The history of recorded music has been emphasized as a mere blip in the longer timeline of ‘music’ (Cloonan & Williamson, 2016), given live performance is the original means with which music was consumed and enjoyed. Live music has never been more popular, a likely result of the digital revolution (Jones, 2015) and widespread music piracy (Brown & Knox, 2017). Spotify has recently struck a deal with Ticketmaster (Gumble, 2016) with major implications on the live music sector, emphasizing how intertwined different music formats can be.…”

Section: An Overview Of Six Different Music Formatsmentioning

confidence: 99%

Freedom of choice: Examining music listening as a function of favorite music format.

Brown¹,

Krause²

2020

Psychomusicology: Music, Mind, and Brain

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With so many formats available for individuals to use to listen to music, the present research adopted a uses and gratifications approach to investigate why people prefer particular formats. Specifically, the present study considered six formats: physical, digital file, free-streaming, paid-for streaming, radio, and live music. A sample of 396 people (Mage = 34.53) completed an online survey, detailing the reasoning for their favorite format via a free-text response. Live music and digital files were the most popular formats. A thematic analysis of the uses and gratifications pertaining to each format highlighted how participants were attuned to the advantages (and disadvantages) of different formats, demonstrating an awareness of, and consideration relative to, rival formats. Findings suggest that choosing to listen to music across different formats may satisfy different needs and that people demonstrate an awareness of their preference relative to the other available options.

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Section: An Overview Of Six Different Music Formatsmentioning

confidence: 99%

Freedom of choice: Examining music listening as a function of favorite music format.

Brown¹,

Krause²

2020

Psychomusicology: Music, Mind, and Brain

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“…The digitisation of the music industry has been seen as a threat to live shows, as it is read by some critics as providing a less authentic experience than face-to-face events (Bennett, 2015; Jones, 2015). Online mediation of music festivals has been found to lack tangible socialisation compared to offline performances (Bennett, 2015; Harper, 2015), whilst the distance created by media screens has been claimed to reduce affective engagement for audience members (Harper, 2015).…”

Section: Literature Reviewmentioning

confidence: 99%

Experience, satisfaction and loyalty in the context of online music festivals in China

Wang,

Codina,

Sun

et al. 2024

IJEFM

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PurposeThe COVID-19 pandemic has prompted the fast growth of online music festivals. This paper explores how festivalgoers' experience affects their satisfaction and drives their loyalty to re-attend online music festivals in China.Design/methodology/approachBased on an understanding of the music festival experience and the characteristics of live-streamed performances, this paper investigates five factors that affect festivalgoers' satisfaction and loyalty, namely the music experience, ambience experience, separation experience, social experience and novelty experience. The relationships between festivalgoers' experience, satisfaction and loyalty are also explored using structural equation modelling techniques.FindingsThe empirical results suggest that four of the above-mentioned five factors of the online music festival experience directly affect festivalgoers' satisfaction and loyalty. The online mode is a rapid adaptation of and preferred alternative to offline music festivals, whilst the creation of the experience, along with satisfaction with and loyalty to the online music festival, are determined by different factors compared to offline modes. Overall festival satisfaction positively enhances the relationship between festivalgoers' experience and loyalty to online music festivals.Practical implicationsThis study offers a range of practical and managerial implications for organisers of online music festival, similar activities such as live-streaming concerts and stage performances and hybrid events.Originality/valueThis study explores a phenomenon that has evolved quickly since COVID-19 and will, potentially, have an ongoing and enduring impact on the music festival sector. It differentiates the understanding of festivalgoers' experience in online and offline modes, which is a new addition to the literature. It also enriches the theoretical understanding of the experience of, satisfaction with and loyalty to online music festivals.

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“…Third, the participation motive might be the fan interest towards music festivals in general, to experience “festival communitas whose members are more open to participate in collective actions and shared enjoyment than in normal circumstances” (Kinnunen, 2018, p. 106), thus fulfilling social and hedonistic needs and aims. Jones (2015) saw a “postmodern music festival fan” as a “musical nomad” who enjoyed the festival experience in general, not specific music per se .…”

Section: Introductionmentioning

confidence: 99%

“…Music-related fandom has been previously investigated in relation to artists (Cavicchi, 1998; Henry and Caldwell, 2007; Vroomen, 2002) and specific musical genres (Hill, 2016; Sinclair and Dolan, 2015), but not so much in relation to music festivals in general (exceptions include Jones, 2015). Leisure career studies, on the other hand, concentrate heavily on sports events (Buning and Gibson, 2015; Getz and Patterson, 2013) as if career development in a hobby would require a measurable activity.…”

Section: Introductionmentioning

confidence: 99%

Frequent music festival attendance: festival fandom and career development

Kinnunen

Honkanen

Luonila³

2021

IJEFM

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PurposeThe purpose of the study is to compare features of career development and fandom in frequent festival attendance in the context of Finnish music festivals.Design/methodology/approachThe study uses a mixed methods research approach and employs two theoretical frameworks: theories of career development and fandom.FindingsIn frequent festival attendance, both festival career development and festival fandom are most clearly present in motivation development and social dimensions.Practical implicationsStrategically, frequent festivalgoers should be considered as crucial stakeholders, who might mobilize the co-creation of a sense of community or festival brand.Originality/valueMusic-related fandom has been previously investigated in relation to artists and specific musical genres, but not so much in relation to music festivals in general. Career studies, on the other hand, concentrate heavily on sports events. There is a scarcity of research scrutinizing both career development and fandom in the festival context within the same study, and festival attendance as part of music tourism is an under-researched area.

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What’s my scene

Cited by 5 publications

References 10 publications

Freedom of choice: Examining music listening as a function of favorite music format.

Freedom of choice: Examining music listening as a function of favorite music format.

Experience, satisfaction and loyalty in the context of online music festivals in China

Frequent music festival attendance: festival fandom and career development

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