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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.

Previous research has demonstrated the positive impact of participation in a music programme run by a Youth Offending Team in England (Caulfield et al., 2020). While the previous research focused solely on children involved with the criminal justice system, the purpose of this current paper is to report findings from research extended to young people identified as ‘at risk’ of involvement with the criminal justice system, vulnerable, or disengaged.

A mixed-methods approach was taken, using quantitative measures of the primary outcomes (educational engagement, well-being, musical development and attitudes and behaviour), complemented and extended by semi-structured interviews with a sample of participants.

Analysis of the quantitative data from 57 participants showed significant improvements in self-reported engagement with education, musical ability and well-being. In-depth interviews with 11 participants added a depth of understanding about children’s experiences of the programme and the impact they felt, providing a safe space and improved confidence and well-being.

This paper builds on previous research in schools and youth justice settings by presenting findings on the impact of a music programme on the educational engagement and well-being of children identified as at-risk of offending, vulnerable or disengaged.

This paper builds upon a new era of research seeking to understand variability in how desirable outcomes result from engaging rap music as a health enhancing artifact. More specifically, the study explores the music mediated pathways to individual and community well-being. The study emphasizes female music engagement. Quantitative methods are used to examine listening habits and preferences associated with empowering rap music engagement among a female sample of 202 university students using an a priori established path analysis model. Results echo prior research that suggests the functional value of music in helping to define the self independently and articulate one’s social identity within the context of community (Dixon, Zhang, & Conrad, 2009; Hill, 2009; Travis & Bowman, 2012). Specifically, results suggest that among females in this sample, (a) their appropriation of rap music can be empowering, (b) specific factors play a significant role in determining the difference between females that feel more or less empowered from their interactions with rap music, and (c) female listeners were more likely to appropriate rap music for personal and community growth if it was their favorite music type, if they listened often, and if they tended to listen alone more often than with friends. These research findings offer promising routes for more in depth qualitative analysis to help uncover the nuances of preferred engagement strategies and to help define the subjective lived experiences that lead to feeling empowered by music to act toward positive change for oneself and others. Practical results indicate the possibility for gender-specific education, therapeutic or empowerment-based programs that utilize rap music as a rubric.

The purpose of this paper is to set out the current status of the Sounds of Intent project, and explains some of the theoretical thinking that has underpinned its development over a period of 12 years. Sounds of Intent maps the musical development of children and young people with learning difficulties. It currently exists as an online resource that offers practitioners a framework for assessment (with an online recording tool), information and downloadable resources.

The approach to the development of Sounds of Intent has been through two main phases: first, exploratory, qualitative analysis was used to inform the development of a model setting out how musical abilities and engagement are thought to develop in children and young people with learning difficulties; and second, the framework’s efficacy has been evaluated through gathering data from a number of practitioners in the field that has been analysed principally through quantitative means.

The principal findings of the Sounds of Intent project to date are that virtually all children (with the exception of those who are incapable of processing sound or vibration at all) are able to engage with music, whether reactively, proactively or interactively. The great majority have potential for musical development that can be realised over time, given an appropriately rich and engaging environment.

Sounds of Intent is the first research project in the world to focus on the musical development of children and young people with learning difficulties, and makes the first attempt to set out how this may occur. Since its public launch in 2012, the Sounds of Intent web site has had over 4,000,000 unique hits, with over 500,000 downloads of resources, from people all over the world.

This chapter investigates the dynamics of teenage girls' musical.ly productions in relation to microcelebrity inspirations and (non)aspirations, and centrally details the mixed methodologies involved in the research process. The analysis focuses on the flow of the musical.ly app as evidenced through the walk-through method and young girls' engagements with the platform as solicited through personal observations and two small focus group discussions.

The purpose of this paper is to consider the work conducted by Manchester Camerata (an internationally renowned and world-class chamber orchestra) programme for people with dementia in one care home in the north west of England. The study aim was to undertake an exploratory qualitative evaluation of experiences of those taking part in its ten week “Music in Mind” programme, namely care home staff, Manchester Camerata musicians/organisational staff, care home activity workers, the assigned music therapist and visiting family carers.

During July-September 2014 a sample of 11 participants was recruited and a total of 19 interviews conducted over ten weeks. All respondents were offered the opportunity to be interviewed more than once. Interview data were supplemented by information gathered at two musicians de-brief sessions and from two activity workers’ diaries. All data was organised using NVivo 10 and thematic analysis applied to the whole data set. People with dementia could not be included in the sample owing to the time limitations on starting and completing the evaluation.

This analytical process generated three overarching themes: Making it Happen, which referred to the contextual, structural and organisational considerations necessary for setting up the engagement programme; Orchestrating Person-centred Care, which addressed the importance of building relationships through person to person communication; Making Musical Connections, which identified the sensory and embodied qualities of live music and the need to capture in-the-moment experiences.

Whilst each of these theme headings has slightly different meanings and applications to each of the participating stakeholders, the evaluation highlights the potential power of improvised music making to equalise and harmonise the group dynamics by co-creating “in-the-moment” experiences.