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The study aims to investigate the impact of technological innovation, such as blockchain, in the music field from a value co-creation perspective, highlighting how it is determining a radical change in the business model and value creation process.

To shed light on how blockchain adoption is reconfiguring the music industry, the authors adopted a qualitative-based approach based on a case study, allowing us to investigate value co-creation at three levels (macro, meso and micro) through exchange and integration of multi-actor resources.

The authors found that blockchain adoption in the music industry can singularly shape the business model, representing a powerful tool to enhance inter-organizational cooperation in value creation. It effectively deals with operational and business issues, besides financial transactions, profoundly impacting both the creation and distribution of value within the supply chain.

The research contributes to a better understanding of innovation adoption in a specific setting, the music industry, giving support and guidance for players working in this ecosystem. The blockchain-music link helps close the gap between music and society through technology, thus providing a foundation for future research.

The paper provides new insights into the antecedents and mechanisms of value co-creation, spanning macro-, meso-, and micro-levels of context. It also illustrates the factors underpinning Bitsong viability to embed the value co-creation perspective in designing the business model within a value network.

In this study, we applied the strategy-as-practice (SAP) framework to analyse strategic communication practices. SAP implies approaching strategy as something that organisational members do and is useful for understanding the tensions between emergence and formalisation and between planning and improvisation that characterise the everyday communication work of communication practitioners.

The paper is based on an ethnographic study of a record company and on qualitative interviews with various actors from the music industry.

Tensions exist between the emergence of inputs from active consumers that require flexibility and attempts to strategically formalise and continuously adapt plans and encourage consumers to act in anticipated ways. The findings revealed five strategic communication practices—meetings, working in the office, gathering and analysing consumer engagement and related data, collaboration and storytelling—that practitioners used to conduct strategic communication and navigate the tensions.

The study contributes to understanding the role of strategic communication practices in contemporary organisations and how practitioners manage the tensions within them. The study shows that an SAP approach can account for improvisation and emergence, as well as planning and formalisation. It also shows how SAP resonates with emergent and agile strategic communication frameworks.

Prior research has indicated that narratives may lead to fantasy which may evoke narrative transportation. Researchers have also established that narrative transportation affects persuasion, changes in attitudes and brand evaluations. To this end, several studies have focused on narrative consumption (i.e. being hooked into a narrative) and the aforementioned consequences of narrative transportation. However, research investigating the role that fantasy plays in consumers’ journey from narrative consumption to narrative transportation is scant. The purpose of this paper is to develop a multidimensional scale for measuring narrative-driven fantasy in order to detail which dimensions of fantasy facilitate narrative transportation. Further, this paper posits that prior research has overlooked the mediating role that fantasy plays within the narrative consumption and narrative transportation process. As the exploration of overlooked mediators is important for theory development, this paper uses the scale developed here to test for fantasy as a mediator.

This research involves four studies, taking a multi-methodology approach including one-on-one interviews and questionnaires. Exploratory factor analysis and sequential equation modeling are used to develop a valid scale for fantasy.

This work results in the development of an eight-item scale of narrative-driven fantasy, highlighting two dimensions of fantasy: identification and passport. Further, this work finds that both dimensions of fantasy mediate the relationship between the level of narrative consumption (being hooked into the narrative) and narrative transportation.

The studies were conducted with respondents only from the USA, potentially limiting its generalizability to other countries and cultures. This research has several implications. This paper introduces a model that highlights fantasy’s role within the narrative consumption and narrative transportation fields of study. It also delineates a scale that measures the different dimensions of fantasy. This scale can be used to gain further understanding of the strength and type of fantasy that narratives consumed via various mediums (music, movies, commercials) evoke, the relationship between these measures and narrative transportation, and the subsequent changes in intentions and attitudes. Further, the identification of fantasy as a mediator in the relationship between narrative consumption and narrative transportation allows for further theory development and exploration.

The fantasy scale that is detailed in this paper may be used to indicate which celebrities, music, images, movies, commercials, products, brands and other stimuli best evoke narrative-based fantasy. The scale should apply to all types of fantasizing, enhancing the understanding of what increases levels of fantasy and the effects of such fantasy on persuasion.

This research extends the literature on consumer engagement in narrative consumption and transportation by providing novel and valid scale measures for narrative-based fantasy. The fantasy scale provided is internally consistent and proves accurate across many samples and stimuli. The scale is also short (only eight items) and easy to administer. Additionally, to the best of the authors’ knowledge, this work is the first to generate insights into the mediating role that fantasy plays within the narrative consumption and narrative transportation framework.

This paper focuses on patterns of film consumption within cultural consumption more broadly to assess trends in consumerism such as eclectic consumption, individualised consumption and omnivorous/univorous consumption and whether economic background and status feature in shaping cultural consumption. We focus on film because it is widely consumed, online and offline, and has many genres that vary in terms of perceived artistic and entertainment value. In broad terms, film is differentiated between mainstream commercially driven film such as Hollywood blockbusters, middlebrow “feel good” movies and independent arthouse and foreign language film. Our empirical statistical analysis shows that film consumers watch a wide range of genres. However, films deemed to hold artistic value such as arthouse and foreign language feature as part of broad and wide-ranging pattern of consumption of film that attracts its own dedicated consumers. Though we found that social and economic factors remain predictors of cultural consumption the overall picture is more complex than a simple direct correspondence and perceptions of other cultural forms also play a role. Those likely to consume arthouse and foreign language film consume other film genres and other cultural forms genres and those who “prefer” arthouse and foreign language film have slightly more constrained socio-economic characteristics. Overall, we find that economic and cultural factors such income, education, and wider consumption of culture are significant in patterns of film consumption.

This study aims to examines how renaming music festivals with brand names affect festivalgoers' purchase intention in a Southwestern European country.

This study uses 291 festivalgoers' responses attending five music festivals in a Southwestern European country with structural equation modeling.

The study shows that the brand experience at the music festival directly influences brand attitude, which in turn positively influences purchase intention. The results also show the direct impact of event-sponsor fit on brand image transfer (BIT), positively affecting purchase intention.

The study examined only five music festivals in a Southwestern European country. Further studies can investigate multiple music festivals in different geographic regions. Four of the five sponsoring brands of the music festivals are telecommunication operators. Also, this study did not explore the differences in the effect of destination image, artist image and festivalgoers' attachment to music festivals.

The brand sponsorship of music festivals should ensure the event-sponsor fit to impact BIT and purchase intention positively. A synergy between events and sponsors must be created to involve consumers with the brands.

This study uses congruity theory in a music festival setting. The investigation is unique as it is conducted at five music festivals in a Southwestern European country.

Campaigns to promote the COVID-19 vaccination messages to vaccine-hesitant consumers in the late stages of the pandemic are often met with resistance. This study aims to explore a way to leverage positive emotions induced from entertainment media consumption to promote vaccination messages to this audience group.

An online experiment was conducted with vaccine-hesitant consumers (N = 409). Participants viewed personally relevant entertainment music videos or mundane videos and vaccinated messages embedded in user-generated comments.

Data revealed that feelings of inspiration and nostalgia induced from entertainment media consumption increased vaccination intentions via increased risk perceptions and reduced anti-vaccination attitudes.

Social marketers should consider leveraging the combined effect of entertainment media-induced positive emotions and user-generated comments to motivate behavioral change among vaccine-hesitant individuals in the late stages of the COVID-19 pandemic.

The present study adds to social marketing literature by showing mechanisms that positive emotions induced from entertainment social media consumption might lead to health behavioral change.

The aim of this paper is to test a new proposal of a model to analyze emotional outcomes in relation to the key factors constituting the experience of a music festival.

This article first examines how emotions and intangible impacts are conceptualized and analyzed by different disciplines; secondly, this article exposes the relevance of musical emotions and the contextual elements in the generation of the music festival experience; the article then proposes a new model to assess the emotional impacts of music festivals, named the Emotional Impact of Music Festivals (EIMF). Finally, this article shows the test of the model through quantitative and qualitative analysis.

The findings reveal that perceived emotions in the music festival context should be based on the definition of musical emotions. At the same time, the model combines the different sources of emotions taken from validated tools in multiple academic disciplines. The new proposal enables the emotional outcome of the music festival experience to be identified and helps to understand the weight of the experience's main elements.

The new proposed model facilitates the research on music festivals and illuminates the key role of music when organizing festivals to enhance attendee experience. Finally, this model reveals the main elements required to obtain an intense emotional outcome in these types of events.

The study expands the different scales and model proposals in live events and combines existent musical emotion models from the psychological perspective with theoretical models from the intangible impact evaluation. This study shows a genuine test for a theoretical model that can be further developed. Finally, this study shows how the new tool EIMF can help music festival organizers to understand the weight of the constituting factors of festival experience and the results in applied studies.

This article examines the ways in which the popular music industry markets artists through integrated transmedia marketing campaigns. These campaigns unfold across multiple media and create multiple pathways for audience engagement, particularly fan engagement, across social media platforms. The purpose is to further theorise the relationship between artists, the music industry and audiences.

The study used digital ethnography to scrutinise the activities within a contemporary music transmedia marketing campaign, focusing on the release of Taylor Swift's album Reputation as an illustrative case.

The study demonstrates how strategically curated activities encompass platforms' affordances and industry events by making use of fan engagement across social media platforms and streaming services. Fans shift through platforms, as well as across digital and physical spaces, through defined marketing activities at specific times. This article proposes the concept of choreographed engagement to specifically address the ways in which the temporal and spatial aspects of social media marketing are used at the intersection of platform logic, algorithm economy and fan engagement to reach wider audiences.

By proposing the concept of choreographed engagement, the authors bridge the gap between fan practices and marketing practices, providing insight into how commodification of fan engagement is utilised spatially and temporally within the contemporary platform economy. Choreographed engagement constitutes a significant aspect of strategic communication and marketing. The term expands the vocabulary used in the debate on the commodification of artistic work, and audience engagement in the platform era.

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.

This study explores the effects of parents' attending status and alcohol consumption (scenario based) on their feelings of happiness, relaxation, family cohesion and family satisfaction.

This study uses a 2 (attending status: with a child or without a child) X 3 (alcohol consumption: water, a cup of beer or four cups of beers) between-subjects experimental design on an art festival and employs relational cohesion theory while spillover theory.

The results reveal (1) significant differences between parents' attending status on happiness and relaxation; (2) significant differences between alcohol consumption on happiness, family cohesion, and family satisfaction and (3) happiness significantly mediates the effect of parents' alcohol consumption on family cohesion and family satisfaction.

Attending art festivals provides families with a chance to consolidate family relationships. Art festival planners could promote the festival through enhancing participants' family cohesion and satisfaction through potential family leisure activities.

Events are an emerging topic in the hospitality and tourism discipline in recent years. Social impacts, especially family-related outcomes, on art festivals are barely examined. Additionally, while alcohol consumption is common in festivals, the influence of alcohol consumption on the attendees' emotions and behaviors is under-researched.