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This study aims to apply the predictive processing theory to examine the influence of artificial intelligence (AI)-driven robotic performers on audience emotions and the audience’s resulting electronic word-of-mouth (eWOM) behaviors during tourism service encounters.

Using a quantitative research methodology, survey responses from 339 regular customers of performing arts in tourism destinations were analyzed. The respondents were recruited through Prolific, a professional data collection platform. SPSS 23.0 was used for the preliminary analysis, from which a research model to achieve the aim was proposed. SmartPLS 3 was used for partial least squares structural equation modeling to test the model.

Interactive and novel robotic performances significantly encouraged the consumers to share their experiences online, thereby enhancing eWOM. However, melodic resonance had no significant impact on eWOM intentions. The consumers’ emotional responses fully mediated the relationship of the novelty and interactivity of the performances to the consumers’ eWOM intentions but did not mediate the relationship of the musical elements to their eWOM intentions.

This study enriches the understanding of how AI-driven performances impact consumers’ emotional engagement and sharing behaviors. It extends the application of the predictive processing theory to the domain of consumer behavior, offering valuable insights for enhancing audience engagement in performances through technological innovation.

本研究旨在运用预测处理理论, 考察人工智能（AI）驱动的机器人表演对观众情感及其在旅游服务接触中的电子口碑（eWOM）行为的影响。。

采用定量研究方法, 分析了339名经常观看旅游景点表演艺术的常客的调查问卷。受访者通过专业数据收集平台Prolific招募。初步分析使用SPSS 23.0进行, 从中提出了实现研究目标的研究模型。使用SmartPLS 3进行偏最小二乘结构方程模型测试该模型。

互动性和新颖性的机器人表演显著鼓励消费者在线分享他们的体验, 从而增强电子口碑。然而, 旋律共鸣对电子口碑意图没有显著影响。消费者的情感反应完全中介了表演的新颖性和互动性与消费者电子口碑意图之间的关系, 但没有中介音乐元素与电子口碑意图之间的关系。

本研究丰富了对AI驱动表演如何影响消费者情感参与和分享行为的理解。将预测处理理论的应用扩展到消费者行为领域, 为通过技术创新增强观众参与度提供了宝贵的见解。

This study aims to examine the younger generations’ experiential consumption of foreign contemporary music online (i.e. digital music streaming services) by generation and gender in the US market.

The author proposes a sequential experiential consumption model by applying Jacoby’s refined stimulus-organism-response (S-O-R) theory to better understand the experiential sequences in foreign music consumption among young generations in the US market. The proposed model, using structural equation modeling (SEM), examines a cognitive permeable role and a hierarchical affective mediating role. Also, moderating roles of generation and gender are simultaneously tested in overall and specific causal relationships.

The refined S-O-R framework is superior to a linear one in better understanding young consumers’ online experiential foreign music consumption behavior. Moreover, hierarchical sequenced affective organismic behavior is crucial to enhance young consumers’ online music consumption experiences to regulate subsequent behavioral responses. Furthermore, gender differences but no generational differences exist in the experiential consumption process among young consumers. Nevertheless, the strength of S-O-R factors affecting experiential consumption seems idiosyncratic simultaneously in gender and generation.

The study suggests foreign music streaming services boost profitability by focusing on young consumers' psychological ownership and tailored experiences, encouraging a shift from freemium to premium subscriptions. Also, the findings recommend adopting phygital experiences using technologies like AR, VR and MR to enhance engagement and create unique, emotionally resonant experiences for young consumers, thus fostering a more profitable business model.

The authors address under-researched topics relevant to young generations by applying Jacoby’s refined S-O-R framework to foreign music consumption through online streaming. This approach delves into a lesser-explored consumer behavior framework, highlighting young generations’ musical trends. The model reveals cognitive and affective roles, offering advantages over traditional linear S-O-R models. It also uniquely incorporates the moderating effects of generation and gender in music consumption studies, addressing a gap in music-related studies.

Music and sound have been used pervasively to enhance the tourism and hospitality experience. Incorporating music into a brand’s identity has the potential to influence consumer perceptions and decision-making. This study aims to identify how sonic branding influences consumer attitudes and engagement patterns with hotel brands by using feelings as information theory and applying the effects of music on neurochemical phenomena in the brain. It also explores how sonic branding differentially influences the decision-making of consumer segments.

Experimental studies are used to examine how sonic brands influence consumer perceptions and engagement tendencies. Study 1 (n = 92) adopts a single-factor experimental design to investigate the main effects of sonic branding (presence vs absence) on customers’ responses. Study 2 (n = 204) uses a 2 (sonic branding: present vs. absent) × 2 (purpose of travel: leisure vs business) design to examine the interaction effects. Participants were recruited through Prolific.

Results indicate that the use of sonic branding increases engagement tendencies for a hotel brand. In addition, sonic branding interacted with the purpose of travel such that business travelers exhibited more favorable attitudes and higher engagement tendencies toward a hotel brand than leisure travelers when a sonic brand was used.

Given the proliferation of audio-centric environments, this research provides insight into how tourism and hospitality brands can engage and connect with customers by developing sonic brands that can be used throughout the customer journey.

音乐和声音被广泛用于提升旅游和酒店体验。将音乐融入品牌的身份有可能影响消费者的感知和决策。本研究旨在通过使用感觉作为信息理论和应用音乐对大脑神经化学现象的影响, 识别声音品牌如何影响消费者对酒店品牌的态度和参与模式。它还探讨了声音品牌如何对不同消费者群体的决策产生差异化影响。

采用实验研究来检验声音品牌如何影响消费者的感知和参与倾向。研究1（n = 92）采用单因素实验设计, 调查声音品牌（有 vs. 无）对客户反应的主要影响。研究2（n = 204）采用2（声音品牌：有 vs. 无）× 2（旅行目的：休闲 vs. 商务）设计, 检验交互效应。参与者通过Prolific平台招募。

结果表明, 使用声音品牌会增加消费者对酒店品牌的参与倾向。此外, 声音品牌与旅行目的的交互作用表明, 当使用声音品牌时, 商务旅行者比休闲旅行者对酒店品牌表现出更有利的态度和更高的参与倾向。

鉴于音频中心环境的普及, 本研究提供了旅游和酒店品牌如何通过开发声音品牌在整个客户旅程中与客户互动和联系的见解。

La música y el sonido se han utilizado de forma generalizada para mejorar la experiencia del turismo y la hostelería. La incorporación de la música a la identidad de una marca tiene el potencial de influir en las percepciones y la toma de decisiones de los consumidores. Este estudio pretende identificar cómo influye la marca sonora (o audio branding) en las actitudes de los consumidores y en sus patrones de compromiso con las marcas hoteleras utilizando los sentimientos como teoría de la información y aplicando los efectos de la música en los fenómenos neuroquímicos del cerebro. También explora cómo influye diferencialmente la marca sonora en la toma de decisiones de los segmentos de consumidores.

Se emplean estudios experimentales para examinar cómo influyen las marcas sónicas en las percepciones y las tendencias de compromiso de los consumidores. El estudio 1 (N = 92) adopta un diseño experimental de factor único para investigar los efectos principales de la marca sonora (presencia frente a ausencia) en las respuestas de los clientes. El estudio 2 (N = 204) utiliza un diseño 2 (marca sonora: presente frente a ausente) × 2 (Objetivo del viaje: ocio frente a negocios) para examinar los efectos de interacción. Los participantes fueron reclutados a través de Prolific.

Los resultados indican que el uso de la marca sonora aumenta las tendencias de compromiso con una marca hotelera. Además, la marca sonora interactuó con el objetivo del viaje de forma que los viajeros de negocios mostraron actitudes más favorables y mayores tendencias de compromiso hacia una marca hotelera que los viajeros de ocio cuando se utilizó una marca sonora.

Dada la proliferación de entornos audiocéntricos, esta investigación ofrece una visión de cómo las marcas turísticas y de hostelería pueden captar la atención de los clientes y conectar con ellos desarrollando marcas sonoras que puedan utilizarse a lo largo de todo el viaje del cliente.

Disaster research is often geared towards logocentrism and has relatively few outputs that explore alternative forms of representation, particularly those using an artistic medium. This paper explores how the creative use of audio representation can enhance understanding of flooding experiences, challenging the predominant text-based approach within qualitative study.

During a series of visits to people who had been flooded in 2019 in the UK, interviews and ambient sounds were recorded, analysed and then intertwined with musical elements composed by the lead author. The result is a phonographic representation of the synthesised data. The process explores a tripartite, creative, sonic approach that comingles thematic spoken excerpts with local sounds and musical compositions.

This article presents three sonic vignettes that illustrate the use of audio as a medium for academic research outputs. It contributes to the current consensus that the interpretation, representation and dissemination of research findings should be broadened beyond the dominance of the written word to align with the ethos of the Disaster Studies Manifesto.

The research contributes to disaster scholarship by developing a transdisciplinary approach to explore people’s experiences. By retaining the participants’ voices at its core, it makes use of in-depth, rich data to illustrate individuality, rather than aiming to generalise.

Very little disaster research has focussed on pushing the boundaries of investigation by using the arts as a lens for both the researcher and their audience. Such work may connect with a wider range of people compared to a text-based “traditional” academic output. It can offer new opportunities for practical uses within Disaster Risk Reduction, for example as a communicative and educational tool.

This paper contributes to understanding the impact of developing audio representation as a medium for conveying people’s experiences of flooded homes.

This paper explores the entrepreneurial transformation of Bangtan Sonyeondan or Bangtan Boys (BTS), tracing their journey from initiation through expansion. Despite the global prominence of their music, dance and outreach, many aspects of BTS’s meteoric rise remain underexplored. This study aims to illuminate the strategic and organizational developments that have propelled their unprecedented growth in the global media landscape.

Using case study research methods, this paper uses a multimodal approach to examine BTS’s intricate interactions with market dynamics and fan engagement comprehensively. Using entrepreneurial innovation as the overarching theoretical framework, the authors categorize BTS’s transformational processes into drivers, practices and outcomes, thereby elucidating the strategies used to navigate key challenges and pivotal moments in their worldwide ascent.

The BTS organization exhibits a distinct entrepreneurial orientation and transformation process across its phases of initiation, development, growth and expansion. The authors identify specific drivers, practices and outcomes along with strategic vision, actionable practices and measurable performance outcomes at each stage.

While this study draws valuable parallels between BTS’s trajectory and established growth models, it recognizes the limitations inherent in a single-case study approach. The findings highlight the critical role of entrepreneurial leadership in the entertainment industry and suggest further exploration into the universal applicability of these models across different genres and cultural contexts within the music industry.

This paper underscores the importance of entrepreneurial innovation within entertainment organizations. The conceptual framework provided can assist managers in formulating strategies and policies for the growth and transformation of similar entities.

BTS’s case demonstrates how engaging a global audience with culturally specific content and the universal appeal of youthful energy can be transformative. This engagement is facilitated through effective use of music, dance and dynamic interactions on social media.

By analyzing BTS from an entrepreneurial leadership perspective, this study offers unique insights by examining their internal motivations and managerial practices, as well as the external outcomes, spanning from 2010 to 2023.

This paper aims to explore factors contributing to music popularity using machine learning approaches.

A dataset comprising 204,853 songs from Spotify was used for analysis. The popularity of a song was predicted using predictive machine learning models, with the results showing the superiority of the random forest model across key performance metrics.

The analysis identifies crucial genre and audio features influencing music popularity. Additionally, genre specific analysis reveals that the impact of music features on music popularity varies across different genres.

The findings offer valuable insights for music artists, digital marketers and music platform researchers to understand and focus on the most impactful music features that drive the success of digital music, to devise more targeted marketing strategies and tactics based on popularity predictions, and more effectively capitalize on popular songs in this digital streaming age.

While previous research has explored different factors that may contribute to the popularity of music, this study makes a pioneering effort as the first to consider the intricate interplay between genre and audio features in predicting digital music popularity.

With the rapid development of social media, many organizations have begun to attach importance to social media platforms. This research studies the management and the use of social media in academic music libraries, taking the Center for Chinese Music Studies of the Chinese University of Hong Kong (CCMS) as a case study.

We conducted a sentiment analysis of posts on Facebook’s public page to analyze the reaction to the posts with some exploratory analysis, including the communication trend and relevant factors that affect user interaction.

Our results show that the Facebook channel for the library has a good publicity effect and active interaction, but the number of posts and interactions has a downward trend. Therefore, the library needs to pay more attention to the management of the Facebook channel and take adequate measures to improve the quality of posts to increase interaction.

Few studies have analyzed existing data directly collected from social media by programming based on sentiment analysis and natural language processing technology to explore potential methods to promote music libraries, especially in East Asia, and about traditional music.

Analysis of architectural space is commonly conducted by examining architectural drawings that project spatial information by means of walls and partitions. To capture the lived experience of space, which is richer than what we can see from drawings, a new method is proposed to quantify the cognitive dimension of space and re-present it as an audible format.

Using an urban vernacular house in Seoul as a case study, this research takes a syntactic approach to quantify one's changing perception through their movement from the main gate to the most private reception room. Based on Luigi Moretti's theory of hollow space, a new method is proposed to measure the level of spatial pressure exerted on a navigating body. The numerical data of spatial pressure are then converted to a sound using musical techniques of the chromatic scale and chorale textures.

Building on Moretti's abstract concept, it has been shown that a rule-based quantification of users' spatial perception is possible. In addition, unlike conventional approaches of treating architecture as a static entity, this study showed an alternative approach to represent it as a sequence of sensorial experience that can be readily converted to a sound of music.

This research developed a quantification method to measure the perception of pressure inside buildings by revisiting Luigi Moretti's theory proposed in 1952. It has been also demonstrated that the visual stimuli in space can be translated into an audible experience. This new method is applicable to a wide range of buildings including important historic architecture.

The paper aims to present the importance of social relationships in cooperation among theaters in the creation of three types of values that characterize arts entrepreneurship (i.e. artistic, economic and social).

The findings are based on qualitative research with the use of 50 semi-structured interviews conducted with 57 representatives of public and private theaters in the performing arts sector in Poland.

The research shows how social relationships among cooperating representatives of theaters are used to create three types of values that characterize performing arts entrepreneurship (i.e. artistic, economic and social). The findings reveal that theater representatives take advantage of social relationships and engage in inter-organizational cooperation in introducing various changes in their institutions. Thus, by fostering innovation, risk-taking and searching for new opportunities they adapt to the dynamic environment. The paper shows how the three groups of values of performing arts entrepreneurship are interrelated but also sometimes conflicted with one another.

The research is not representative as it presents the context of the analyzed theaters in Poland.

Entrepreneurship, although a popular subject of research, has been much less frequently analyzed with regard to the creative industries, such as the performing arts. In the field of management, researchers have focused primarily on business organization entrepreneurship, excluding cultural and arts institutions such as theaters. In this context, so-called arts entrepreneurship has not yet been widely recognized. In particular, there is a lack of research showing how social relationships between cooperating partners are used in the creation of three types of values in performing arts entrepreneurship, i.e. artistic, economic and social. The article fills this gap and presents both a scientific as well as an applicative contribution.

The impact and collective threat of climate change is of key concern to all. Music and arts education can play a role by responding to the ongoing climate crisis through the creation of artworks as activism. This paper discusses a collaborative online international music project and its potential contribution to sustainable development education.

10,427 miles and 11 hours apart, music education students undertook the project, working in groups with a mix of students from Aberdeen, Scotland and Melbourne, Australia in each group. Each student collected video footage that captured their experience of climate concerns related to their environment. Students combined and edited the footage then collaboratively composed music to accompany the footage. This research was conceived as a collaborative self-study project undertaken by the authors as music teacher educators.

The results show a range of musical and extra musical outcomes and challenges. Evidence suggests that a collaborative online international music learning experience may contribute to sustainable development education and regenerative practice more broadly. Students began to develop their practice as educators for school and community contexts embedding learning for sustainability and climate consciousness, thus enabling them to develop as active global citizens.

This paper argues for greater attention to the affordances of digital collaborative music technology tools to facilitate creative projects as well as the need to reimagine musical experience, drawing together strands of music, sustainability education, technology and global citizenship. This paper also argues for the importance of embedding the UN Sustainable Development Goals in teaching and learning in Higher Education.