Models of Online Music Consumption: Definition and Implications for Management

2003 ◽  
Author(s):  
Luca Molteni ◽  
Andrea Ordanini
Keyword(s):  
Music Consumption ◽  
Online Music

Repurchase decision for music products in Taiwan: physical versus online media

2017 ◽  
Vol 19 (4) ◽  
pp. 302-316 ◽  
Author(s):  
ChienHsing Wu ◽  
Yu-Hui Tao ◽  
Yu-Min Lin
Keyword(s):  
Model Comparison ◽  
Value Theory ◽  
Epistemic Value ◽  
Parallel Imports ◽  
Research Model ◽  
Content Type ◽  
Functional Value ◽  
Music Consumption ◽  
Online Music ◽  
One Year

Purpose Consumer behaviors in internet are changing over time. The purpose of this paper is to propose and examine a research model that describes the repurchase behavior for the legal and paid music products of physical genre and online genre. The consumption value theory is used to develop the research model. Comparison of physical genre with online genre is presented. Implications and suggestions are addressed. Design/methodology/approach The research model is examined empirically. The research targeted music product consumers who had purchasing experience in the past one year. The research results are obtained, and the findings are revealed on the basis of 728 valid music product consumers. Findings The functional, emotional and epistemic value are the significant driving factors, though it shows a limited distinction for the two types. In comparing of the concepts of designed functional value, physical music consumers tend to have a stronger enthusiasm in music consumption. Social value and conditional value are not the predicators of repurchase satisfaction, implying that the music consumption is self-oriented for any normal amusement. The epistemic value shows significant on all levels of significance for the physical type, whereas insignificant if a = 0.01 for the type of online. Originality/value The research model is applied for the two contrariety product types, and to make a comparison, trying to understand the reasons why music fans are still willing to spend money on music products and what factors make them choose between product genres. After fluctuation and alternation of the music industry within this decade, this research provides a reference and correlated results for the future studies for the related studies, especially for the prosperous physical parallel imports items and online music.

scholarly journals DEMYSTIFYING MUSICAL PREFERENCES AT TURKISH MUSIC MARKET THROUGH AUDIO FEATURES OF SPOTIFY CHARTS

2019 ◽  
Vol 4 (3) ◽  
pp. 264-279
Author(s):  
Fatih PINARBAÅžI
Keyword(s):  
Descriptive Statistics ◽  
Popular Song ◽  
Energy Characteristics ◽  
Audio Features ◽  
Popular Songs ◽  
Music Consumption ◽  
Online Music ◽  
Streaming Services ◽  
Music Market ◽  
Music Streaming

Online music streaming services are one of the important actors in music consumption for today’s consumers. In addition to widespread use of mobile devices, many changes in the patterns of music consumption are witnessed such as the purchase of single tracks instead of albums, listening to music on different platforms, and personalized music consumption options. This study aims to examine the concept of music consumption in Turkey through audio characteristics of popular songs. Top 200 popular song-lists for 6 months period are chosen as sample and audio characteristics provided by Spotify API service regarding 676 unique songs are analyzed. Following descriptive statistics of Turkey Music Market, clustering methodology is employed and three different clusters for songs are concluded. Finally, decision tree methodology is employed to classify the dataset with popularity scores and audio characteristics together, while loudness and energy characteristics are found as significant classifiers.

Consuming popular songs online: Phoenix Legend’s audiences and Douban Music

2017 ◽  
Vol 24 (2) ◽  
pp. 295-310
Author(s):  
Chen Liu ◽  
Rong Yang
Keyword(s):  
Popular Music ◽  
Mainland China ◽  
Emotional Engagement ◽  
Global Marketplace ◽  
Chinese Nationalism ◽  
Popular Songs ◽  
Music Consumption ◽  
Online Music ◽  
Creative Writings

This article explores the creative consumption of popular music and explains how audiences involve their place-based emotions within their representations of popular music in an everyday setting, drawing on a qualitative study on people’s interpretations of Phoenix Legend (a popular music duo in mainland China) and its music. We collected the texts created by Phoenix Legend’s audiences from Douban Music ( http://music.douban.com/ ), a Chinese online music forum. Our analysis focuses on how fans, non-fans and anti-fans interpret and re-write the meanings of Phoenix Legend and its songs emotionally and how these interpretations shape and are shaped by these audiences’ senses of self and place. The key finding of this article argues that through the consumer-to-consumer network provided by social media (Douban Music), the rural–urban division, ethnic cultures and the role of Chinese nationalism in the global marketplace are generated by audiences’ creative writings and their interactions with other consumers. Moreover, we suggest that anti-fans’ and non-fans’ emotional engagement within music consumption and their interactions should be paid more attentions to.

scholarly journals On the concept of ‘music performance’ in the context of the COVID-19 lockdown: A brief musicological discussion based on a public survey among listeners in Argentina

2020 ◽  
pp. 89-107
Author(s):  
Magdalena Zorn ◽  
Juan Manuel García
Keyword(s):  
State Of The Art ◽  
Music Performance ◽  
The Internet ◽  
Live Performance ◽  
Concert Hall ◽  
Space And Time ◽  
Public Survey ◽  
Music Consumption ◽  
Online Music

In this work, the concept of music performance in the context of the Covid-19 lockdown is assessed through a brief musicological discussion based on a public survey performed on the broad population in Argentina during the lockdown. Traditionally, listeners and performers interact in con­cert halls sharing the same space and time. During the Covid-19 lockdown, listeners and performers were obliged to stay home and thus, online music consumption in the genres of Classic, Jazz, Pop and Folk became “state of the art”. With the increasing importance of performances through the internet, the interaction between listeners and performers substantially changed. Giv­en that the context of a live performance on the internet is so different to that of one in a concert hall, we conducted a public anonymous survey during the lockdown in July and August 2020 to question listeners in the broad popula­tion of Argentina about both paradigms. With regards to the studied sample, listeners and performers seem to agree that live emissions via the internet do not suit their preferences of interaction as well as a music performance in a concert hall.

scholarly journals Follow the guides: disentangling human and algorithmic curation in online music consumption

2021 ◽  
Author(s):  
Quentin Villermet ◽  
Jérémie Poiroux ◽  
Manuel Moussallam ◽  
Thomas Louail ◽  
Camille Roth
Keyword(s):  
Music Consumption ◽  
Online Music

Leisure-Time Music Activities from the Perspective of Musical Agency

2017 ◽  
Author(s):  
Sidsel Karlsen
Keyword(s):  
Music Education ◽  
Leisure Time ◽  
Learning Trajectories ◽  
Binary Opposition ◽  
Sociology Of Music ◽  
Music Production ◽  
Music Consumption ◽  
Musical Taste ◽  
Specific Concept ◽  
Music Activities

This chapter aims to understand the phenomenon of leisure-time music activities from the perspective of musical agency. It explores how individuals’ and groups’ recreational practices involving music can be seen as a means for expanding their capacities for acting in the lived-in world. The exploration proceeds through theoretical and experiential accounts. It first draws on literature from general sociology, music sociology, and the sociology of music education in order to elaborate on the broader notion of agency, as well as the more field-specific concept of musical agency. It then explores various music-related agency modes through narrating the author’s own experiences of participating in, leading, and observing leisure-time music activities. The chapter aims to dissolve the binary opposition between recreational music production and music consumption. It argues that the two poles instead can be understood as inseparably intertwined venues for the constitution of agency, musical taste and music-related learning trajectories.

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