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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.

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.

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.

This article seeks to understand how audience members at a live jazz event react to one another, to the listening venue, and to the performance. It considers the extent to which being an audience member is a social experience, as well as a personal and musical one, and investigates the distinctive qualities of listening to live jazz in a range of venues.

The research draws on evidence from nearly 800 jazz listeners, surveyed at the Edinburgh Jazz and Blues Festival and in The Spin jazz club, Oxford. Questionnaires, diaries and interviews were used to understand the experiences of listening for a wide range of audience members, and were analysed using NVivo.

The findings illustrate how listening to live jazz has a strongly social element, whereby listeners derive pleasure from attending with others or meeting like‐minded enthusiasts in the audience, and welcome opportunities for conversation and relaxation within venues that help to facilitate this. Within this social context, live listening is for some audience members an intense, sometimes draining experience; while for others it offers a source of relaxation and absorption, through the opportunity to focus on good playing and preferred repertoire. Live listening is therefore both an individual and a social act, with unpredictable risks and pleasures attached to both elements, and varying between listeners, venues and occasions.

There is potential for this research to be replicated in a wider range of jazz venues, and for these findings to be compared with audiences of other music genres, particularly pop and classical, where differences in expectations and behaviour will be evident.

The authors demonstrate how existing audience members are a vast source of knowledge about how a live jazz gig works, and how the appeal of such events could be nurtured amongst potential new audiences. They show the value of qualitative investigations of audience experience, and of the process of research and reflection in itself can be a source of audience development and engagement.

This paper makes a contribution to the literature on audience engagement, both through the substantial sample size and through the consideration of individual and social experiences of listening. It will have value to researchers in music psychology, arts marketing and related disciplines, as well as being a useful source of information and strategy for arts promoters.

The purpose of this paper is to explore some of the problems of teaching qualitative research methods to large culturally‐mixed groups of postgraduate business school students.

After a consideration of some current relevant pedagogical issues the author presents an autoethnographic account of his own parallel experiences of teaching qualitative research methods and learning to play a musical instrument. Emotional aspects of teaching and learning are highlighted in an analysis of the dynamic interaction between the two activities. This is presented as an example of how the “use of learning stories” can increase sensitivity to the anxieties of students.

Finds that the core of the argument lies in the value of self‐reflexivity to the business school teacher and that looking inward at personal learning experiences is invaluable for informing current and future teaching practice. Recent learning experiences seem to have the most potential and learning something that is found difficult may be the richest source of empathy and insight.

It is argued that reflexive analysis by research‐methods lecturers of their own learning experiences can develop synergies which would not only improve the effectiveness of their teaching but also enrich the learning experience of their students.

The paper is an attempt to generate some original ideas about teaching research methods in business schools via a mix of autoethnography and music. The core of the argument lies in the value of self‐reflexivity to the business school teacher.

The purpose of this paper is to explore the use of an arts-based methodology in conducting a doctoral study on The Nile Project, an East African based musical collective. Despite some evidence that music is an effective tool for qualitative inquiry, there are few studies on its use, especially the use of musicking in the interview process.

The author used a qualitative and arts-based research approach.

Outcomes suggest that music may help to create an “in-between” space challenging researcher positionality and giving voice to the “researched.” Music also acted as a bridging agent encouraging open and honest dialogue and relationship building.

Findings suggest that music may be a useful tool for researchers interested in arts-based and participatory methods in qualitative research particularly when interviewing participants with varied linguistic, cultural, political and musical backgrounds.

There is sparse research on the use of musicking in the interview process of qualitative research.

The purpose of this paper is to demonstrate the usefulness of the “audience exchange” approach for audience development and research, and to highlight the insights offered by peer-to-peer dialogue in understanding experiences of unfamiliar arts.

Using a case study with contemporary arts audiences, and setting this in the wider context of studies with other first-time attenders at a range of arts events, the paper explores the use of the “audience exchange” method, in which facilitated conversations after performance events allow newcomers to reflect upon and deepen their first-time encounters with live arts.

The study demonstrates the way in which conversations about arts events can enrich audience experience, and shows how participants use exploratory and emotional language to articulate their understanding of unfamiliar arts events. Peer-to-peer learning occurs through these conversations, in ways that could be further supported by arts organisations as a valuable tool for audience development. The audience exchange discussions also reveal the varieties of participation from “drifting” to full attention that are all part of audience engagement.

This is a small-scale, qualitative study, and the method has potential to be tested in future studies with a greater variety of participants (e.g. younger or more ethnically diverse groups).

Use of the audience exchange for enriching experiences of first-time attendance could be adopted by arts organisations as a regular part of their audience engagement. Greater understanding of how new audience members draw on prior cultural experiences in finding the language to articulate their first impressions of an unfamiliar arts event could be valuable for targeted marketing and increasing accessibility.

The originality of this study lies in its elaboration of the audience exchange method, and its focus on the language and peer-to-peer learning evident in the facilitated post-performance discussions.

The Equal Pay Act 1970 (which came into operation on 29 December 1975) provides for an “equality clause” to be written into all contracts of employment. S.1(2) (a) of the 1970 Act (which has been amended by the Sex Discrimination Act 1975) provides:

The purpose of this article is to use an extended model of self to understand the consumption of music and similar entertainment products.

In-depth interviews using experts within the music field were used to penetrate the private worlds of musical theatre enthusiasts. Multiple qualitative analytic techniques were used to explore the different aspects of the self underlying music consumption.

Repeated exposure to musical theatre allowed subjects to refine their consumption of specific performances that reflect the preferred aspect of their extended self. It is found higher order consumption needs are an integral part of the extended self, and form an important basis for consumption decisions. Of particular importance is the reflection of the self that assists others in their consumption choices.

Present research widely recognises consumers are seeking more than just “entertainment” when they consume an entertainment product, but struggle to characterise what it is consumers are actually seeking. This research provides this insight through an elaboration of the extended self-model.