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Music stimulation is considered beneficial for people with advanced Alzheimer’s disease. The purpose of this paper is to assess a tablet-based program to promote music-related hand responses and positive engagement (e.g. singing or moving the body with the music) in people with advanced Alzheimer’s disease.

The program was implemented with 20 participants according to a non-concurrent multiple baseline design across participants. The participants were provided with a tablet whose screen worked as a sensor. During the intervention, sensor activations by hand responses led the tablet to present 10 s segments of preferred songs; an absence of sensor activation led the tablet to produce a prompt.

The participants’ mean frequencies of hand responses (i.e. sensor activations) per 5 min session increased from mostly zero during baseline to between about 9 and 20 during the intervention. The mean percentages of observation intervals with participants’ positive engagement increased from 0 to 12 during the baseline to between 13 and 55 during the intervention. The differences between baseline and intervention data were statistically significant for all participants.

A tablet-based program, such as that used in this study, may help people with advanced Alzheimer’s disease develop specific music-related responses and positive engagement.

This paper aims to explore the roles Web 2.0 applications play in niche cultures such as rock music diffusion.

This paper aims to examine the influence of online forums on fans of rock music and to validate the intermediating roles of the cognitive variables.

The results show that the three factors associated with innovation diffusion theory play different intermediating roles in the relationship between the stickiness of online forums (their ability to make users stay longer and return) and the levels of appreciation displayed by fans of rock music. While stickiness shows a significant positive impact on an individual's perception and image of a rock band, visibility has a significant negative influence on the individual's level of enthusiasm for the band.

Additional data and measures are required for in‐depth investigations of other cultural contexts.

The study could be helpful for determining the influence of online forums on rock music diffusion and for planning innovative promotions and sales strategies for rock bands. Moreover the findings could be applicable to the marketing and promotion of other niche culture items.

This study's originality lies in confirming the intermediating roles of the cognitive variables based on innovation diffusion theory between online forums' stickiness and appreciation of rock bands by using a mixed qualitative and quantitative approach and then by showing the opportunities and challenges provided by networking to rock music.

This paper aims to study the information needs and online information-seeking behaviors on mobile platforms of performing arts students at a college level.

Survey instruments were used to collect data from performing arts students at the Hong Kong Academy of Performing Arts (HKAPA), a metropolitan’s major performing arts tertiary institution. Data collected were analyzed through descriptive statistics and other statistical methods, and the music-related students were compared with the production-related students.

The result reveals that performing arts students all owned their mobile devices and often used mobile apps for non-academic purposes, but they did not often use mobile library services or read online academic contents with their mobile devices. The participants considered inadequate signal coverage, slow loading time, difficulty in reading on a mobile device and the lack of specialized mobile apps as more significant barriers affecting their usage. There are some significant differences between the music-related and production-related student groups in that music-related students watched lectures on the library websites and used electronic music scores more often than the production-related students.

This study contributes to the input for enhancements and policies to future mobile services and facilities of performing art libraries.

There have been scant studies on the mobile learning needs of performing arts students, especially in Asia.

In recent years, there has been a “heritagisation” of pop culture, including music, whereby cultural institutions, such as galleries and museums in primarily Western countries, have run exhibitions based on pop culture to successfully market to a new audience of visitors. The purpose of this qualitative study is to explore the issue of the “heritagisation” of pop culture by museums and observe visitor response to a specific music-related exhibition, linking intangible and tangible elements of the exhibition to provide a framework to understand the visitor experience.

The purpose will be achieved by observing the “heritagisation” of pop culture in the literature and past exhibitions, proposing how cultural institutions have linked the intangible and tangible elements of music in pop culture for an exhibition and observe visitors' feedback from online comments posted on Tripadvisor undertaken during the original “David Bowie is” exhibition at the Victoria and Albert Museum (V&A), London.

From the Leximancer analysis, a new conceptual framework for visitor experience at an exhibition was developed, which contains three visitor-related categories: pre-exhibition, exhibition space and exhibition experience, with five themes (tickets, exhibition, displayed objects, David Bowie and visitors) and 41 text concepts.

For cultural institutions the implications are that there can be opportunities to curate exhibitions on pop culture or music-related themes, which can include intangible and tangible elements, such as songs, videos, tickets, costumes, musical instruments and posters. These exhibitions can also explore the changing socio/political/historical/cultural background that contextualises pop cultural history.

This theory-building study advances the body of knowledge as it links music in pop culture and cultural institutions, specifically in this case a highly successful music-related exhibition at a museum, and provides a theoretical model based on tangibility elements. Further, it analyses museum visitor comments by using the qualitative software program, Leximancer, to develop a new conceptual framework for visitor experience.

Although “engagement” is receiving increasing attention in the marketing literature, the characteristics and dynamics characterizing this concept in specific contextual conditions, including consumers’ selection of particular music and ensuing music-related behaviors, remain nebulous to date. This study aims to develop the concept of consumers’ musical engagement (ME) and explore it within a broader nomological network of conceptual relationships.

To investigate the research gap, the authors deploy a survey sampling 2,498 US-based adults to develop and confirm a 25-item ME scale. The authors also test their scale in a broader nomological network of specific theoretical relationships using regression and mediation modeling.

The authors identify three ME factors, namely, social identity, transportive and affect-inducing engagements. The authors find ME to exhibit a nonlinear effect on music consumption with increasing returns. Although both social identity and transportive experiences represent significant predictors of music consumption, the effect of affect-inducing experience is non-significant. Further, the social identity experience has a significantly greater association with music consumption than the transportive experience.

This paper provides a conceptualization and an associated diagnostic tool for ME, in addition to initial insight into the role of ME in a broader nomological network of conceptual relationships. Based on the identified research limitations, the authors also provide key future research directions for ME.

The insight attained into ME may be used to underpin the design, implementation and evaluation of managerial ME-based tactics and strategies in the music industry. In particular, the authors find that successful appeals to consumers’ social identity engagement are a significant driver of increased future music consumption. The authors provide a number of managerial recommendations to develop this particular ME dimension.

This paper provides an ME conceptualization and an associated scale and explores ME within a broader nomological network of theoretical relationships. The authors also draw key implications from these analyses.

The purpose of this article is to give an overview of scholarly monographs on rock music from 1980 to the present. It aims to provide an overview to the literature for practical purposes of collection development as well as giving the reader insight into key issues and trends related to a interdisciplinary topic that attracts scholars from many disciplines in the humanities and social sciences.

This bibliographic essay, focusing on works related to American culture and of a general nature, includes an overview and historical background; a discussion of how music and ethnomusiciological scholars approach the topic; geographic approaches; literature on four key icons (Elvis, Dylan, Springsteen, and Madonna); American studies; subcultures and genres; other methodologies; and concludes by discussing notable recent works.

The scholarly literature on rock incorporates a wide variety of approaches and methodologies. Many music‐related scholars appropriate methodology from other disciplines and some non‐music‐related scholars use the formalistic analysis of music scholars. Authenticity is a major theme in the literature on rock.

This essay covers the widest range of monographs on the topic, providing insight into not only the key scholars but also the diversity of approaches to the topic. The historical approach to the literature gives the reader a sense of how the academic discourse on rock has evolved. This essay is of interest to librarians, scholars of rock music, and others concerned with how American scholarship in the humanities and the social sciences has grown since the advent of cultural studies.

The aim of the present study is to investigate and analyze Internet‐related consumer music procurement behavior and its effects on traditional music procurement using a Web questionnaire with a sample of more than 4,000 Internet users (the word “procurement”, as opposed to purchase, is used because some procurement satisfies the consumers’ need for music but they do not pay for it). Four motive factors for the willingness to pay for online music were found and subsequent cluster analysis identified three meaningful and distinct downloader groups who are willing to pay for online music: demanding downloaders; general download approvers; procurement autonomous. Consumer price sensitivity for two different commercial online‐music distribution models was very similar and the majority of users had similar ideas as to how much a commercial download service should cost. Implications for marketing research and practitioners are discussed.

When using popular music in advertising, the songs' release period (nostalgia) and the lyrics' relevance to the product are two important characteristics but neglected in previous music‐related studies. The purpose of this paper is to investigate the effects of these two variables on consumers' responses to advertisements.

A 2 × 2 experimental design was used to examine the effects of a song's period and the lyrics' relevance. The hypotheses were tested with a structural equation analysis.

Previously heard old songs have positive ad effects due to evoking consumers' good moods or by generating more favorable nostalgia‐related thoughts. High‐relevance lyrics facilitate the production of favorable ad execution‐related thoughts, which improve ad attitude directly and indirectly through good moods.

Only undergraduate students are sampled. Further, the experiment focuses solely on music‐dominated ads for low involvement products.

For advertising targeting the young generation, the use of a popular song released during their childhood can elicit feelings of nostalgia and lead to good moods as well as favorable brand attitudes. Such effects, can be strengthened by high‐relevance lyrics.

Placing a previously heard popular song in a TV ad can evoke nostalgic feelings and generate favorable ad effects even when the product and other ad design elements are not related to nostalgic themes. The persuasion mechanism of nostalgia follows a dual‐route process, in which the cognitive route seems to be more influential than the affective route. The importance of lyrics' relevance is demonstrated to the extent that its impact on brand attitude can exceed that of song's nostalgia.

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 to bring together the fields of participatory design, design for all, accessible music, tangible interaction and musicking to propose musicking for all, where participants can take part on their own terms, with their own intentions, initiatives and interpretations. The goal is to promote well‐being and health among the participants.

Co‐creative tangibles to enable musicking for all have been created and evaluated in a research project. The paper uses the experiences so far in this project to propose “musicking for all”, based on the fields mentioned in “Purpose” above.

Participatory design, design for all and tangible interaction forms a promising basis for musicking for all. Challenges/paradoxes emerge when applying participatory design approaches to design work involving disabled children.

The paper contributes with an original view on musicking for disabled children, and proposes musicking for all based on the fields of research mentioned in “Purpose” above. The value in the contribution is a fresh view on co‐creative tangibles for disabled children, and a suggested way forward to improve health and well‐being for this user group.