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In view of the influences of online videos on the cultural tourism industry, this study aims to explore the mechanisms triggered by watching online video behaviors of fans. This study examines how fans who have watched celebrities’ online videos become tourists who attend concerts held at destinations based on celebrity and destination endorsements.

This study builds for celebrity and destination endorsements on online videos by combining media richness and source model theory. This research adopts partial least squares structural equation modeling to analyze the mechanism triggered by online media.

Watching online media influences celebrity and destination endorsements, which, in turn, affects the concert experience and intention to return to the destination. Results reveal less intertwined relationships between celebrity and destination endorsements and the complex mechanisms between the two endorsements.

With the rise in popularity of online media, online content has become a major source of information in the tourism industry and a means of enjoying travel seamlessly. This study highlights not only the role of “watching online videos” as one of the richest media but also the role of live concerts in cultural tourism for understanding complex cultural tourism.

为了探讨在线视频对文化旅游业的影响, 本研究探讨了观看在线视频所触发旅游行为的机制。本研究考察了在名人和景区的宣传下, 观看名人在线视频的粉丝如何成为参加目的地举办的演唱会的旅游者。

基于媒体丰富度和来源模型理论, 本研究调查了名人与景区的宣传视频。本研究采用partial least squares（PLS）结构方程建模来分析在线媒体所引发的机制。

观看在线媒体影响了名人和目的地宣传效应, 进而影响了演唱会的体验和到访目的地的意愿。研究结果揭示了名人和目的地宣传之间的关系并不紧密, 这两种宣传之间存在着复杂的机制。

随着在线媒体的普及, 在线内容已成为旅游业中信息的主要来源和享受旅游的手段。本研究不仅突出了“观看在线视频”作为最丰富的媒体之一的作用, 也突出了演唱会在文化旅游中的功能, 以更全面地理解复杂的文化旅游。

This study aims to explore the engagement between accounting and music in the social and relational construction of accountability. The authors conceive this construction as a dynamic and recursive interplay between the giving of different accounts and the responses that these accounts provoke. The authors investigate the emotional dimension of this interplay, as it is also triggered by music, feeding back into how accountability is constructed and evolves over time.

This study relies upon a historical analysis of archival and secondary sources about the main music concert organized in 1913 by the founder of “Accademia Chigiana”, one of the leading music academies in Italy. The concert celebrated the first centenary of the birth of Giuseppe Verdi, a worldwide famous Italian music composer, and icon of Italian national sentiment.

This study shows that music and accounting were profoundly intertwined in the social and relational construction of accountability for the 1913 concert. Accountability evolved through different accounts, also linked to music, and the complex emotional reactions these accounts provoked in the audiences, citizens, media and institutions, leading to always further responses and accounts in the ongoing construction of accountability.

This study extends prior literature on the chameleonic nature of accountability, as well as on its relational and emotional dimensions. The study shows that accountability is relationally constructed and evolves over time through the giving of accounts and the emotional reaction they provoke from others, feeding into further responses and accounts of the accountable subject. The authors show how the chameleonic nature of accountability permeates not only the accounts and the relations of accountability but also the subjects giving and demanding the accounts: these subjects change as chameleons through their interactions and emotions, feeding into the dynamic construction of accountability. The authors also show how arts, like music, can participate in the chameleonic nature of accountability and of its subjects, precisely by engaging with their emotional reactions and responses.

Taking into account the increasing prices of attending concerts and gigs and the decreasing prices and better sound quality of CDs and music in file‐computer format, is the future of music events threatened by music CDs? Are clients' perceptions about concerts and CDs very different? This study aims to answer these research questions by comparing important perceptions of concert attendees and CD buyers.

An empirical study is conducted in two different contexts: CD buyers and concert attendees. In order to answer the research questions outlined the most appropriate statistical tool is the student's t‐test. The variables to compare do not have normal distributions; therefore, non‐parametric tests have been conducted to confirm the results. In addition, a discriminant analysis has been applied in order to assure that both consumers sub‐samples differ with regard to the variables used in the study.

The future of music events is not threatened at all by music CDs. On one hand, the concert industry has been increasingly making more profits in many countries in last decade. On the other hand, consumer satisfaction, price fairness perception, willingness to pay, customer value, and product/service quality are significantly more highly ranked in concert attendees than in CD buyers. The statistical analyses show clients' perceptions about concerts and CDs are very different. All the variables analysed except image have been significantly different in both sub‐samples of consumers.

This paper examines customer perceptions of two of the most important sectors in the music industry: concerts and CDs, using variables that directly measure these perceptions. It is crucial for music managers to understand motives and feelings of music consumers of these basic sectors in order to make appropriate decisions.

This paper aims to explore the nature of the marketing of concerts 1672–1749 examining innovations in the promotion and commodification of music, which are witness to the early development of music as a business.

The study takes as its basis 4,356 advertisements for concerts in newspapers published in London between 1672 and 1749.

Musicians instigated a range of marketing strategies in an effort to attract a concert audience, which foreground those found in more recent and current arts marketing practice. They promoted regular concerts with a clear sense of programme planning to appeal to their audience, held a variety of different types of concerts and made use of a variety of pricing strategies. Concerts were held at an increasing number and range of venues with complementary ticket-selling locations.

Whilst there is some literature investigating concert-giving in this period from a musicological perspective (James, 1987; Johnstone, 1997; McVeigh, 2001; Weber, 2001; 2004b; 2004c; Wollenberg, 1981–1982; 2001; Wollenberg and McVeigh, 2004), what research there is that uses marketing as a window onto the musical culture of concert-giving in this period lacks detail (McGuinness, 1988; 2004a; 2004b; McGuinness and Diack Johnstone, 1990; Ogden et al., 2011). This paper illustrates how the development of public commercial concerts made of music a commodity offered to and demanded by a new breed of cultural consumers. Music, thus, participated in the commercialisation of leisure in late 17th- and 18th-century England and laid the foundations of its own development as a business.

The purpose of this paper is to interpret the 1850 debut American performances of Swedish concert singer Jenny Lind as an emblematic moment in the history of live music promotion.

This paper studies the manner in which Lind's earliest concerts and the singer herself were marketed through analysis of contemporary newspaper and magazine reports and advertisements.

Lind's concerts were important for the way they demonstrate the complex balance of “high” and “low” cultural forces at a transitional moment in US cultural history, and for the way in which her manager, P.T. Barnum, used various mechanisms to manage the potential disorder posed by her immense audiences.

The paper addresses only the first few concerts of Lind's nearly two‐year American tour in detail, but uses those concerts as a case study for understanding the degree to which the business of nineteenth‐century concert promotion had to balance the pursuit of profit with the demands of crowd control.

Lind's example demonstrates how a complex range of class interests needed to be balanced in order for her to reach something approaching a “mass audience,” in modern parlance.

The paper provides a historical perspective on issues that continue to have relevance for the promotion of large‐scale commercial events, and addresses critical questions about the nature of the collective experience provided through live music performance.

The purpose of this paper is to explore the jazz festival experience at the Heineken Jazzaldia Festival in San Sebastian, Spain. It focuses especially on the relationship between participants’ area of residence and their experience of the festival, concert expectations, preference for different festival settings and perception of the best aspects of the festival.

This study modifies and applies the Audience Experience Survey (Radbourne et al., 2009) to the Heineken Jazzaldia Festival in San Sebastian, Spain. A total of 406 valid questionnaires were obtained. A quantitative analysis technique was used for the area of residence, on the one hand, and for concert expectations, audience experience and venue setting, on the other. A qualitative approach was applied for identifying the best aspects of the festival.

The results suggest that the audiences’ festival preferences differed according to their area of residence. Audience members who lived in Spain outside of the Basque Country were more motivated to attend the festival, had higher concert expectations and greater indoor venue concert attendance, and considered music diversity to be one of the most important aspects of the festival. Local participants were more likely not to have expectations prior to concerts, had higher outdoor venue concert attendance rates and preferred ambience compared with residents from outside of the Basque Country.

Findings could be relevant to festivals’ organisers for management and marketing purposes in terms of their audiences’ needs and preferences. One of the main results obtained is that local residents were more likely not to have expectations prior to concerts. They also equalised music diversity, artists, stages and atmosphere as the best Festival’s aspects while participants from outside of the Basque Country prioritised music diversity aspect.

This paper contributes to the literature regarding residents’ behaviour in the Spanish music festival context. Our findings add to the body of knowledge around local audiences’ and non-local audience’s experience in jazz festivals.

Thousands of young people traveled to London to attend their favorite “High Ten” world famous pop girl band performing in the O2 Arena. Ten minutes before show time the organizers informed the fans that the concert was canceled due to Alyssa’s, one of the four-piece band singers, sudden illness. The disappointed fans were instructed to leave the venue and wait for a news release on the following day.

Purpose – We seek to understand how gender shapes the practice of concerted cultivation in connection to other key social locations of race and class.Design/methodology/approach – This quantitative research paper uses multi-level modeling to provide an intersectional analysis of parenting practices across diverse social and institutional settings.Findings – We find gender matters: across three aspects of “concerted cultivation” (involvement in schooling, extracurricular activities, and cultural outings), parents invest more time and resources in girls compared to boys. More importantly, using an intersectional approach, we find distinct racial/ethnic differences in engendering concerted cultivation. Gender differences occur among Black and Hispanic but not white parents’ involvement in their child's schooling. Additionally, parents cultivate girls’ participation in certain kinds of extracurricular activities more so than for boys, but this difference is greatest at the highest socioeconomic levels.Social and practical implications – The ways in which parents’ shape young children's activities and experiences in daily life vary greatly across gender, race, and class statuses.Originality/value – Gender shapes access and exclusion to various social settings across the life course; this paper adds to literature on socialization, incorporating other social statuses into understandings of processes of the social reproduction of inequality. These results are of value to parents, schools, and social scientists.

Despite an ever-diversifying student population, it is still commonplace for US public schools to present Christmas concerts. These concerts can force minority students to choose between their own religious convictions and school participation. For some students, participation in public-school Christmas concerts can damage their personal identity and assimilate them into ways of being that are not their own. This study aims to test a method for teaching preservice teachers to empathize with minority students.

Using the framework of action research, the study followed a one-group pretest-posttest design. Participants (N = 19), all of whom identified as some kind of Christian, were asked to perform a concert featuring Satanic Worship prayers and a children’s Christmas song. This intervention was meant to induce empathy for religious minority students who feel uncomfortable performing Christmas songs because they are antithetical to their own faiths. Participants’ perceptions of public-school Christmas music performance was measured before and after the intervention.

The intervention effectively increased empathy for minority students. As a result, participants expressed altered teaching philosophies that were inclusive of religious minority perspectives.

This study demonstrates the effectiveness of empathy-fostering interventions as tools for teaching teachers to work with diverse student populations. The intervention tested in this study is of the researcher’s original design.

The purpose of this paper is to examine information seeking behaviour targeted to music information seeking by amateur musicians, accompanied with empirical evidence from a survey on a community concert band. While several studies in the literature have examined information seeking in the context of hedonic motives (e.g. entertainment oriented), music information can also be used for utilitarian purposes by providing amateur musicians the necessary tools to improve their skill and become better in their practice.

A review of the literature on music information seeking and an empirical study on members of an amateur concert band are presented. The theoretical construct of the survey is informed by Wilsons’ macro model of information seeking behaviour. This is employed in order to understand information motives and needs, as well as obstacles in information seeking of musicians.

Musicians seek information not only for entertainment but for educational purposes as well as for the acquisition of certain music works. The use of the internet for information seeking as well as the gradual adoption of online social networks has provided access to new musical resources within the digital music networks.

A person-centred approach for information seeking behaviour is studied and adapted for musicians. The survey provides new information behaviour results for designers of music information spaces which in turn are creating a new model of the relationship between music and society.