Concert Attendees Research Articles

Patterns of listening through social media: online fan engagement with the live music experience

In recent years, the expansion and use of mobile Internet and social media have changed live music engagement and fandom quite considerably. It has not only allowed fans to find and connect with each other at shows, but also to tweet and text concert set-lists and other information as they happen, thereby allowing non-attendees around the world to feel part of the event. This study examines the responses of fans engaged in this activity, identifying the key themes and patterns apparent within this behaviour, arguing that fans are using social media and mobile technology in an effort to contest and reshape the boundaries of live music concerts. It demonstrates how these online tools are involving fans that are not physically present at the show, seemingly incorporating them into the real-time “live” experience. This article explores how fans of prolific touring artists U2 and Tori Amos undertake this, with assigned concert attendees tweeting the set-list to online fans, where they gather to enjoy the show together, from the comfort of their computers.

Customers' perceptions about concerts and CDs

PurposeTaking into account the increasing prices of attending concerts and gigs and the decreasing prices and better sound quality of CDs and music in file‐computer format, is the future of music events threatened by music CDs? Are clients' perceptions about concerts and CDs very different? This study aims to answer these research questions by comparing important perceptions of concert attendees and CD buyers.Design/methodology/approachAn empirical study is conducted in two different contexts: CD buyers and concert attendees. In order to answer the research questions outlined the most appropriate statistical tool is the student's t‐test. The variables to compare do not have normal distributions; therefore, non‐parametric tests have been conducted to confirm the results. In addition, a discriminant analysis has been applied in order to assure that both consumers sub‐samples differ with regard to the variables used in the study.FindingsThe future of music events is not threatened at all by music CDs. On one hand, the concert industry has been increasingly making more profits in many countries in last decade. On the other hand, consumer satisfaction, price fairness perception, willingness to pay, customer value, and product/service quality are significantly more highly ranked in concert attendees than in CD buyers. The statistical analyses show clients' perceptions about concerts and CDs are very different. All the variables analysed except image have been significantly different in both sub‐samples of consumers.Originality/valueThis paper examines customer perceptions of two of the most important sectors in the music industry: concerts and CDs, using variables that directly measure these perceptions. It is crucial for music managers to understand motives and feelings of music consumers of these basic sectors in order to make appropriate decisions.

Making the Long Tail visible: social networking sites and independent music discovery

PurposeThe purpose of this paper is to investigate users' knowledge and use of social networking sites and folksonomies to discover if social tagging and folksonomies, within the area of independent music, aid in its information retrieval and discovery. The sites examined in this project are MySpace, Lastfm, Pandora and Allmusic. In addition, the ways in which independent record labels utilise social networking sites for promotion are investigated.Design/methodology/approachThree groups of participants were surveyed using questionnaires. These groups were music concert attendees, people who responded to online postings to social networking sites, and independent record companies. In addition interviews were held with digital music experts.FindingsThe results suggest that respondents use social networking sites for music discovery but are not generally aware of folksonomic approaches to music discovery. When users do use and contribute to the folksonomy, most respondents were found to tag for personal retrieval purposes rather than attempting to aid the retrieval purposes of the population of site users as a whole. The four record labels unanimously agreed that social networking sites are having a major impact on independent music discovery. Digital distribution has a major impact on independent record labels. It facilitates discovery but at the same time digital distribution creates new promotional dilemmas.Originality/valueThe project is small scale but the research area is a relatively novel one, and the results are interesting enough to share more generally in the hope that this project will stimulate further research activity in this area.

Perceptions about hearing protection and noise-induced hearing loss of attendees of rock concerts.

This study examines perceptions of rock concert attendees about risk of noise-induced hearing loss (NIHL) and use of hearing protection at a busy Toronto rock concert venue. Two hundred and four questionnaires were completed and returned (75% response rate) by attendees at four rock concerts. The respondents had an average age of 20.6 years and 55.4% were male. Thirty-four point three percent (34.3%) thought that it was somewhat likely and 39.8% thought it was very likely that noise levels at music concerts could damage their hearing, but 80.2% said that they never wore hearing protection at such events. Tinnitus and other hearing disturbances were experienced by 84.7% and 37.8% of attendees, respectively. Both experiencing hearing disturbances and concern about developing hearing loss were statistically significantly associated with concert attendees' use of hearing protection. Previous use of hearing protection, a higher score on a scale of readiness for behavioural change (Prochaska scale) and lack of concern about the appearance of ear plugs were statistically significantly associated with a reported willingness to use hearing protection in the future if it were provided for free at the door. Hearing protection is currently not worn by most attendees of rock concerts who are at risk of developing NIHL. Ear plugs and tactful NIHL education should be provided at the door, coupled with strategies to reduce music sound levels to safer listening levels.

Perceptions About Hearing Protection and Noise-induced Hearing Loss of Attendees of Rock Concerts

This study examines perceptions of rock concert attendees about risk of noise-induced hearing loss (NIHL) and use of hearing protection at a busy Toronto rock concert venue.Two hundred and four questionnaires were completed and returned (75% response rate) by attendees at four rock concerts.The respondents had an average age of 20.6 years and 55.4% were male. Thirty-four point three percent (34.3%) thought that it was somewhat likely and 39.8% thought it was very likely that noise levels at music concerts could damage their hearing, but 80.2% said that they never wore hearing protection at such events. Tinnitus and other hearing disturbances were experienced by 84.7% and 37.8% of attendees, respectively. Both experiencing hearing disturbances and concern about developing hearing loss were statistically significantly associated with concert attendees' use of hearing protection. Previous use of hearing protection, a higher score on a scale of readiness for behavioural change (Prochaska scale) and lack of concern about the appearance of ear plugs were statistically significantly associated with a reported willingness to use hearing protection in the future if it were provided for free at the door.Hearing protection is currently not worn by most attendees of rock concerts who are at risk of developing NIHL. Ear plugs and tactful NIHL education should be provided at the door, coupled with strategies to reduce music sound levels to safer listening levels.

The Celebrity Appeal Questionnaire

The Celebrity Appeal Questionnaire was constructed to operationalize constructs related to parasocial attraction or attraction to celebrities by their fans. The article contains a factor analysis of responses on this questionnaire by 81 college students and a group of 367 Michael Jackson concert attendees. Components of parasocial attraction were perceived sex appeal, perceived competence (here as an entertainer), and perception of the artist as a prosocial person. Mystique was not a predictor of fans' attraction. Further work to establish generality of applicability of the scales and findings is discussed.

THE CELEBRITY APPEAL QUESTIONNAIRE

The Celebrity Appeal Questionnaire was constructed to operationalize constructs related to parasocial attraction or attraction to celebrities by their fans. The article contains a factor analysis of responses on this questionnaire by 81 college students and a group of 367 Michael Jackson concert attendees. Components of parasocial attraction were perceived sex appeal, perceived competence (here as an entertainer), and perception of the artist as a prosocial person. Mystique was not a predictor of fans' attraction. Further work to establish generality of applicability of the scales and findings is discussed.

Temporary threshold shifts from attendance at a rock concert

The relation between exposure level and hearing loss in rock concert attendees was studied. Six volunteer subjects, ages 16–44, participated. All except the 44‐year‐old had normal hearing sensitivity, as revealed by audiometric evaluations made immediately before the concert. They attended a Bruce Springsteen concert at the St. Louis Arena and returned to CID for another hearing test within 30 min following the concert. Noise exposure was assessed by having two subjects, seated at different locations in the arena, wear calibrated dosimeters during the event. Sixteen hours after the concert all subjects returned for a final audiometric evaluation. Results indicated that the average exposure level was 100–100.6 dBA during the 412‐h concert. Five of the six attendees had significant threshold shifts (< 50 dB) predominately in the 4‐kHz region. Measures made 16 h after the concert and thereafter indicated that hearing returned to normal in all subjects. Although no PTS was observed, comparison of these data with studies of hearing loss and cochlear damage in animal models suggests that these subjects may have sustained some sensory cell loss from this exposure. [Work supported by NIOSH and NINCDS.]