Search results
1 – 10 of 366Partha Mukherjee and Bernard J. Jansen
It is important to measure the interaction between conversing in social media and searching on the web in order to understand the impact on electronic word-of-mouth marketing. The…
Abstract
Purpose
It is important to measure the interaction between conversing in social media and searching on the web in order to understand the impact on electronic word-of-mouth marketing. The paper aims to discuss this issue.
Design/methodology/approach
The authors research the relationship between social media conversing and web searching concerning brands on three major social soundtrack platforms (Instagram, Twitter, and Tumblr) and on a major web search engine (Google). The authors examine the effects of changes in both volume and attitude of conversing and volume of searching for two phases (Pre and Post) concerning brands in commercials aired during Super Bowl XLIX. The authors perform Granger causality testing and panel data regression analysis to determine the causal relationship between social media conversing and web searching.
Findings
Results show that volume and attitude of social media conversing has a significant causality relationship to the volume of web searching. Each unit increase of volume on Twitter, Instagram, and Tumblr significantly increases Google search volume for the same brands by 4.7 times, 11.9 times, and 8.7 times, respectively. Each unit increase of attitude score on Twitter significantly increases web search volume 3.96 times, while for Tumblr, search volume significantly increases 0.95 times with each unit. Interestingly, search volume also has a significant causality relationship on the volume of social media postings.
Originality/value
This research seeks to understand the commercial impacts of the interaction among broadcast advertising, social media conversing, and web searching for which there is limited prior work, especially in the context of a major media event.
Details
Keywords
Azi Lev-On and Hila Lowenstein-Barkai
Aiming to explore how audience consume and produce media events in the digital, distributed and social era we live in, the paper analyzes the viewing patterns of video news items…
Abstract
Purpose
Aiming to explore how audience consume and produce media events in the digital, distributed and social era we live in, the paper analyzes the viewing patterns of video news items during a media event (the week of Donald Trump's presidential visit to Israel, the first to a country outside the US), compared to a parallel comparable “ordinary” period (two weeks later, in which no inordinacy events occurred). The comparison focused on simultaneous activities of audiences engaged with the event, with either related (i.e. second screening) or unrelated (i.e. media multitasking).
Design/methodology/approach
The research is a diary study based on a dedicated mobile app in which respondents reported their news-related behavior during two periods: a media event period and comparable “ordinary” period.
Findings
Participants reported watching significantly more news video items in the first day of the media event week compared to the first day of the “ordinary” week. More than half of the viewing reports of the media event were not on TV. In the media event week, there were significantly higher percentages of viewing reports on smartphones/computers and significantly higher percentages of second-screening reports.
Originality/value
This is the first study that empirically explores the viewing patterns of video news items during a media event, compared to an “ordinary” period, focusing on media second screening of audiences engaged with the event. This comparison may reveal whether (1) media events still retain their centrality in a multi-screen era and (2) the role of the internet and online social media in the experience of media events.
Details
Keywords
Christian Fuentes, Johan Hagberg and Hans Kjellberg
The purpose of this paper is to further develop the conceptualization of music consumption in the digital age by examining how contemporary music listening is interweaved with…
Abstract
Purpose
The purpose of this paper is to further develop the conceptualization of music consumption in the digital age by examining how contemporary music listening is interweaved with other practices, how it shapes those practices and how it is in turn shaped by them.
Design/methodology/approach
The paper draws on extensive, qualitative interviews with 15 Swedish music consumers. During the course of these interviews, specific situations of everyday music listening were discussed in detail.
Findings
Drawing on practice theory and more specifically the concepts of dispersed and integrative practices, the authors identify and explore a mode of music listening that they term soundtracking, which involves choosing and listening to music mainly to accompany other everyday practices.
Research limitations/implications
As soundtracking grows in importance, music is increasingly consumed as an affective-practical resource. Its significance is then not derived from its ability to demarcate difference and construct consumer identities but from its capacity to evoke emotions and moods than enable and enrich a set of everyday practices.
Practical implications
When music is consumed as part of soundtracking, issues such as the audio quality of music or ownership of material music media become less important, while aspects such as mobility, accessibility and the adaptability of music increase in importance. This has important implications for how and what music should be produced and marketed.
Originality/value
This paper offers an alternative view of contemporary music consumption compared to previous research, which has considered music listening primarily as an integrative practice on which the practitioner is fully focussed. The paper also contributes to practice theory by offering an empirically based understanding of a dispersed practice, showing that such practices are neither without shape nor necessarily very simple in their structure.
Details
Keywords
Finola Kerrigan and Noel Dennis
The purpose of this paper is to investigate the way in which film can introduce jazz to a wider audience.
Abstract
Purpose
The purpose of this paper is to investigate the way in which film can introduce jazz to a wider audience.
Design/methodology/approach
This study applies the method of subjective personal introspection (SPI) to the area of film and music consumption. The paper reports on insights provided by two researchers through using SPI to investigate their relationships to film and jazz music. In so doing, the paper adopts a Bourdieuian frame in applying a reflexive methodological approach and considering the role of cultural and symbolic capital in influencing these consumption practices.
Findings
This paper found that aside from the recognition problem facing jazz, episodes of sublimation may prevent potential audiences from increasing consumption of jazz music.
Research limitations/implications
In common with all SPI studies, the focus of the research is very narrow. While the indepth insight provided here is of use to scholars of arts consumption, further research should explore the prevalence of sublimination in arts communities in order to extend this further.
Practical implications
This study moves our understanding of why consumers may not develop their consumption relationship with jazz music. The findings can be used by jazz professionals in addressing ways in which consumers may overcome their lack of cultural capital and the emphasis placed on this by the wider jazz consumption community.
Social implications
The paper investigates issues of inclusion and exclusion which should have wider social relevance.
Originality/value
The paper addresses the issue of participation in the arts and should be of value to academics and arts marketing practitioners alike.
Details
Keywords
The purpose of this paper is to share with social science educators a coherent framework for implementing Hamilton: An American Musical into their classrooms, while also…
Abstract
Purpose
The purpose of this paper is to share with social science educators a coherent framework for implementing Hamilton: An American Musical into their classrooms, while also supporting the wider objective of leveraging music to foster disciplinary literacy skills and culturally relevant practices. The framework is a construct that draws on author’s previous teaching experience and its purpose is to inform and support teachers’ practice.
Design/methodology/approach
The author first highlights literature focused on the effectiveness of using music in the social science classroom as a response to author’s own teaching experience using Hamilton: An American Musical, then hones in on the impact of hip-hop music specifically. Finally, the author unites Pellegrino’s (2013) models (close reading, inquiry, student discovery and creative development) to songs from Miranda’s Hamilton to provide pedagogical strategies and examples that are ready to be implemented in the Secondary US History Classroom.
Findings
Lin Manuel Miranda’s portrayal of Hamilton and his historical compatriots as ethnically diverse, combustible and provocative figures bring to life experiences that are unexpectedly and uniquely American, connecting with current generations, while remaining anchored in history (Mason, 2017). The success and relatability of Miranda’s Hamilton and this time-warped story of the founding fathers has led social studies teachers to explore ways to use the music, dialogue and messages in their classrooms.
Originality/value
While many lesson examples related to Lin Manuel Miranda’s Hamilton have proliferated online, there remains a lack of pedagogical coherence to help teachers extend this work as part of a larger framework of practice designed to support teaching and learning through music. The author strives to provide social science educators a strategic, adaptable and ready-to-use framework for implementing Miranda’s Hamilton: An American Musical into their classrooms.
Details
Keywords
Ha Nguyen and Prasina Parameswaran
The goal of this study is to explore how content creators engage in critical data literacies on TikTok, a social media site that encourages the creation and dissemination of…
Abstract
Purpose
The goal of this study is to explore how content creators engage in critical data literacies on TikTok, a social media site that encourages the creation and dissemination of user-created, short-form videos. Critical data literacies encompass the ability to reason with, critique, control, and repurpose data for creative uses. Existing work on critical data literacies on social media has focused on understanding of personal data, critique of data use, and strategies to protect privacy. This work focuses on how TikTok content creators repurpose data to construct their own narratives.
Design/methodology/approach
Through hashtag search, the authors created a corpus of 410 TikTok videos focused on discussing environmental and climate action, and qualitatively coded the videos for data literacies practices and video features (audio, footage, background images) that may support these practices.
Findings
Content creators engaged in multiple practices to attach meanings to data and situate environmental and climate action discourse in lived experiences. While there were instances of no data practices, we found cases where creators compiled different data sources, situated data in personal and local contexts, and positioned their experiences as data points to supplement or counter other statistics. Creators further leveraged the platform’s technical features, particularly the ability to add original audio and background images, to add narratives to the collective discourse.
Originality/value
This study presents a unique focus on examining critical data literacies on social media. Findings highlight how content creators repurpose data and integrate personal experiences. They illustrate platform features to support data practices and inform the design of learning environments.
Details
Keywords
Steve Oakes, Anthony Patterson and Helen Oakes
Despite the relatively low cultural status of department store music, it is proposed that music – the shopping soundtrack – is capable of transforming perceptions of the…
Abstract
Purpose
Despite the relatively low cultural status of department store music, it is proposed that music – the shopping soundtrack – is capable of transforming perceptions of the environment in which it is heard, and eliciting immediate emotional and behavioural responses, thus underlining the influence of music, regardless of whether it is passively heard as a background element or actively listened to as a live performance in a dedicated venue.
Design/methodology/approach
This study addresses a gap in the marketing literature for introspective research evaluating the experience of music in service environments. It draws upon auto‐ethnographic data through which participants ponder their own consumption experience and provide detailed, subjective accounts of events and memories.
Findings
When considering the effects of music upon emotional, cognitive and behavioural responses, it highlights the importance of musicscape response moderators.
Practical implications
The service environment appears more exciting and attractive and may encourage increased spending when background music is congruous with other servicescape elements. Music with positive autobiographical resonance elicits pleasurably nostalgic emotions, positive evaluations and longer stay. However, the aural incongruity of unexpected silence in music‐free zones produces feelings of discomfort leading to negative store evaluation and departure.
Originality/value
Qualitative data are deliberately represented using typically positivist discourse to encourage resolution of the inherent tension between interpretivist and positivist perspectives and stimulate increased methodological integration (e.g. through future studies of music combining quantitative and qualitative data).
Details
Keywords
The case is set in summer 2016, centered on the writer and performing star, Lin-Manuel Miranda, whose Broadway show Hamilton had grossed almost $75 million and won 11 Tony Awards…
Abstract
The case is set in summer 2016, centered on the writer and performing star, Lin-Manuel Miranda, whose Broadway show Hamilton had grossed almost $75 million and won 11 Tony Awards. The musical's cultural influence was buoyed by Miranda’s 578,000 Twitter followers; hundreds of celebrities from Oprah Winfrey to Jennifer Lopez had become ambassadors for the musical; and its impromptu #Ham4Ham live performances were engaging thousands of people on social media with each release. The case explores specific tactics the show employed, challenges students to consider the importance of personality in creating social media buzz, and studies the practical influence social media may have had on the show’s success. It is appropriate for any marketing course, particularly a digital media class in which students are familiar with the major platforms.