Search results

Since its launch in 2005, YouTube has provided a unique platform for users worldwide to share and engage with content, leading to a rise in user-generated content (UGC), especially among youth. One of the most prevalent, yet under-explored, subgenres of UGC is the user-generated music video, where users integrate music and images with an element of performance or narrative; the current research deploys longitudinal analysis to describe the trends in youth-created music videos and how these trends have evolved in the early years of YouTube. Using a sample of 100 youth-created user-generated music videos uploaded to YouTube in 2007 and 2013, the authors investigate trends in production strategies, narrative content, and demographics. Compared to videos posted in 2007, youth-created music videos posted in 2013 featured more complicated editing techniques, less linear narratives, younger actors, more women, and were more likely to celebrate the self, mimicking the recent emergence of “selfie culture.” These findings are discussed with respect to YouTube’s role in reducing barriers to entry and providing a virtual space for youth-oriented content communities that thrive on engagement and social networking as strategies of identity development.

The body of scholarship on YouTube is an expanding area of scholarly inquiry. Existent research indicates that music videos are one of the most salient features of YouTube. Interactionist research about popular music has provided important insights through interviews with fans and audience members; however, this work has yet to examine audience engagement with music videos on YouTube. Using Qualitative Media Analysis, I illustrate how the researcher of popular music can work with user comments collected from YouTube. Thematic understandings largely consistent with nostalgia that emerged from an analysis of user-generated comments in response to selected music videos on YouTube are explored. I conclude by suggesting some directions for future research.

The current study examines the effectiveness of brand integrations in music videos by taking into account the impact of both brand placement characteristics (i.e., brand prominence, valence of artist–brand relationship) and audience characteristics (i.e., artist connectedness).

A 2 (prominence: prominent vs. subtle) by 2 (valence: positive vs. negative) by 2 (connectedness: high vs. low) between-subjects experimental design is used. Each respondent first watched one music video via YouTube in which one branded product was placed either prominently or subtly. To manipulate the valence of the artist–brand relationship respondents were instructed to read a magazine article that revealed either a positive or negative attitude of the artist toward the placed brand. Two hundred twenty young adults participated in this study.

This study shows that prominent placements appear to be beneficial for the attitude toward the integrated brand when an individual is strongly connected to the artist in the music video, while subtle placements are beneficial both when an individual is weakly or strongly connected to the artist. Further, negative celebrity-brand relationships do not seem to affect brand attitudes in a negative way.

Embedding the brand in a music video gives marketers and advertisers the chance to reach consumers in a new, creative way. But this study shows that the advertiser should pay attention to the way in which the brand is integrated. Further, negative celebrity information does not seem to affect brand attitudes in a negative way. This makes the music video a very interesting medium for advertisers.

The current study contributes to previous research on brand placement by investigating the effectiveness of brand placements in music videos and the role of artist connectedness. In addition, the study is original as it includes valence in the model.

The purpose of this paper is to explore how both producers and consumers of user-created music videos on YouTube communicate emotional information.

In total, 150 filmic documents containing fan-generated versions of U2’s “Song for Someone” were purposively collected. The author used discourse analysis to understand the types of videos created, the communication of emotional information from both the producers and the consumers, the social construction of emotion in the filmic documents, and elements of intertextuality that represented emotion.

Fans created videos containing cover versions, original versions of the song with new visual content, and tutorials about how to play the song. Producers of cover versions communicated emotional information, especially tenderness, through facial expression, their surroundings, and corresponding musical elements. Producers’ visual content expressed emotion through meaningful photographs and sad stories. Producers’ descriptions revealed emotion as well. Emotions were individually experienced and socially constructed. Consumers conveyed emotion through likes, dislikes, and expressive positive comments. Intertextuality communicated passion for U2 through tour references, paraphernalia displays, band photographs, imitating the band, and musical mashups.

Information science can work towards a new generation of multimedia information retrieval systems that incorporate emotion in order to help users discover documents in meaningful ways that move beyond keyword and bibliographic searches.

This is one of the earliest research papers in the area of emotional information retrieval (EmIR).

Attempts to investigate differences in marketing imagery that exist between New Zealand produced and foreign music videos. Explores marketing imagery and role‐model behaviour differences by genre. Looks at culture by genre differences in consumption imagery. Indicates that New Zealand videos contained fewer depictions of alcohol, or weapons, drugs and tobacco or heavy rock and rap music than in foreign videos. Suggests that, by genre, rap has more sunglasses, earrings and jewellery than heavy rock or pop music. Provides directions for future research.

This paper aims to investigate the effects of brand placement repetition in music videos on consumers’ memory, brand attitudes and behavioral intentions, as well as, explores the effective frequency needed to achieve optimal advertising impact.

The proposed hypotheses and research questions were tested using an experimental approach. Participants watched a block of music videos containing various levels of brand placement repetitions. Afterward, participants completed a questionnaire designed to measure memory, brand attitudes and behavioral intentions.

At low levels (below 4–5 exposures), the repetition of a brand placement has a positive effect on brand memory, brand attitudes, intentions to buy and to recommend the brand to others. However, further increases in repetition had detrimental effects on brand attitudes and purchase intentions, but not on memory measures. Additionally, the effects of brand placement repetition on brand attitudes and memory measures were moderated by respondents’ brand familiarity.

The effects of brand placements were measured through explicit tests that refer to the placement event. Researchers are encouraged to test suggested propositions by using implicit tests.

The results of this study can serve as guidance for marketing practitioners on optimal ways to integrate their brands into the contents of mass media programming.

Despite the increasing usage of music videos in marketing promotions, limited scholarship explores the effects of placing consumer brands in this promising medium. Current research addresses this gap and contributes both to brand placement literature and scholarship on advertising repetition.

This research examines cross‐country differences in marketing imagery. Marketing imagery in music videos broadcast in the UK and New Zealand are studied. Results suggest that UK music videos have more brand references, fashion imagery, darkside products and role model behaviour outcomes than New Zealand music shows. Pop music marketing references are mainly visual while hard rock has more darkside products, brand references and punishment outcomes.

This study aims to contribute to the discussion on the interplay between music and destination advertising by exploring the roles of music in destination promotional videos (DPVs).

Eight focus group discussions on DPVs about Budapest (Hungary) were assessed through thematic analysis. Individuals’ interactions with and perceptions of advertising can be explored in depth through the former, whereas the latter allowed to identify the roles of music in DPVs.

Results show that music plays a very important role in DPVs in which it acts as a conveyor. Viewers associate a DPV’s musical elements and genre with a destination’s character. Here, the use and remix of traditional music was felt to be controversial because of its ability to communicate cultural identity. The music caught the audience’s attention, elicited emotions in them and made them think about the destination in question. An original music track can make a video memorable.

A convenience sample was used with international and Hungarian university students for the focus groups.

Music is a powerful conveyor of the particular characteristics of a destination and if the structural elements of music, such as tempo, rhythm and dynamics, are chosen appropriately, tourism marketers can create compelling promotional videos. By recognising that different audiences are attracted by different genres of music, marketers can target specific tourist segments. Furthermore, tourism marketers are advised to ask locals’ opinions about which music best represents their city’s cultural identity.

Through an understanding of the important role of music in DPVs, this study provides a novel insight into assessing young people’s cognitive and affective responses to music in promotional videos.

The main research questions critically examine online videos that draw attention to a local community of musical practice, noticing how these can potentially be included within the tourism promotion strategies. This paper develops a case study of four videos realised by the Louth County Board of the organisation Comhaltas Ceoltóirí Éireann (CCÉ) in Co. Louth, Ireland, as a part of the FleadhFest 2021 initiative. It highlights the role that virtual spaces have in enhancing a sense of belonging to a music/festival community as well as the possibility that visual and audio supports have in promoting and celebrating a destination and its cultural features.

The analysis involves a netnographic examination of these videos (Janta, 2017), informed by the concept of “tourist gaze” (Urry, 1990; 2002) and influenced by film-induced tourism studies (Beeton, 2005).

Results show how festival and event organisers responded to COVID-19 social restrictions by creating a virtual space for celebrating music heritage and local musicscape, placing an emphasis on local musical scene.

The research aims to inform future developments in how the organisation operates within and engages with virtual space, its members and a wider audience.

This is the first study to consider the virtual activities of CCÉ from an ethnomusicological as well as tourism, perspective.

The purpose of this paper is twofold: first, to analyze whether musical priming induces greater recall of brands and, second, to study the emotional priming effects of music, in comparison with non-emotional music, including gender comparison.

Through the utilization of neuromarketing tools and protocols (quantitative and qualitative), the study explores facial eltromyography (EMG) capabilities and skin conductance responses (SCR) measuring consumers’ emotional responses.

The findings show that at least, 40 percent of the total sample recognized a musical priming effect. The study measures the emotional response to musical priming as positive. Emotional video recognition was much higher in females. Both the self-report and physiological measures support the notion that emotional background music can elicit emotional responses in consumers.

The research measured emotional response to musical priming without testing how these responses influence consumers’ attention and overall behavior.

The five senses, especially hearing, play an important role in the purchasing decision process and in the individual customer experience. People become aware of the products and brands that surround them and make their choice. In terms of digital trading activities and online sales, increasing physiological understanding of musical priming reactions may mean that, for companies, selling low-end online goods may be economically worthwhile to cooperate with platforms such as Spotify or iTunes to select individual users.

More research is needed in priming process techniques in order to better understand how primes activate knowledge in the consumer’s mind. Understanding this process will inform marketers how close a prime needs to be to a target to have an effective influence, as well as when marketers should be concerned about negative priming effects.

At the best of our knowledge, it is the first time that music priming is analyzed in terms of self-report and physiological measures From the measurement’s perspective, the results reaffirm that physiological and self-report measures capture different levels of information. While SCR and EMG capture real-time subconscious responses, MAN scale self-report data provide information regarding how cognitive effort, in terms of intensity and valence, affects brand recall.