Music Fans Research Articles

Burning out, fading away, and the sophomore slump: Critics’ versus fans’ ratings of music artists’ album quality over time

Folk psychology posits that music artists’ first albums are considered their best, whereas later albums draw fewer accolades, and that artists’ second albums are considered worse than their first—a phenomenon called the “sophomore slump.” This work is the first large-scale multi-study attempt to test changes in album quality over time and whether a sophomore slump bias exists. Study 1 examined music critics, sampling all A, B, and C entries from The New Rolling Stone Record Guide (2,078 album reviews, 387 artists, 38 critics). Study 2 examined music fans, sampling crowdsourced Rate Your Music ratings of artists with at least one Rolling Stone top 500 album (4,030 album reviews, 254 artists). Using multilevel models, both studies showed significant linear declines in ratings of artists’ album quality over artists’ careers; however, the linear effects were qualified by significantly positive quadratic effects, suggesting slightly convex patterns where declines were steeper among earlier (vs later) albums. Controlling for these trends, a significant and substantial sophomore slump bias was observed for critics’ ratings, but not for fans’ ratings. We discuss theoretical perspectives that may contribute to the observed effects, including regression to the mean, cognitive biases and heuristics, and social psychological accounts.

Dynamics of Cultural Loyalty Among Keroncong Music Fans: Roles of Cultural Values, Heritage Image, and Community Involvement

Dynamics of Cultural Loyalty Among Keroncong Music Fans: Roles of Cultural Values, Heritage Image, and Community Involvement

Youth Identity Development on the Basis of Traditional Kazakh Folk Music

This study strived to determine the most popular music genre among young Kazakhs in the context of personal, social, and national identity development, specify the relationship between musical preferences and personality type, and disclose the level of influence of traditional Kazakh folk music on the identity of the Kazakh youth. The authors conducted a survey and a test by taking advantage of such research methods as sociological survey, statistical analysis, social phenomena cognition (assessment, analogy tracking, comparison), psychological and typological concepts of Jung, as well as Abulkhanova-Slavskaya’s methodology for revealing personality traits. As a result of the investigation, hip-hop and rap were identified as the most popular music genres among the respondents (42.2%). Analysis of the data obtained in accordance with Abulhanova-Slavskaya’s personality typology revealed that 89% of the respondents preferring blues/jazz, classical music, and folk music demonstrated personality traits corresponding to the reflexive personality type; 91% of punk/rock and heavy metal fans showed conformity to the contemplative personality type; 87.5% of pop-music lovers were attributed the harmonious personality type; 93.5% of hip-hop and rap music fans – the productive personality type; 84% of traditional music fans – the performing type; and 96% of fans of pop with folk tunes – the functional type. It was also uncovered that 89% of the respondents who preferred traditional music belonged to the sensitive personality type characterized by impressionability, openness, empathy, alertness, firmness, conscientiousness, and, at the same time, inferiority complexes, and a tendency to psychogenic depressions and phobias.

Making icons: the rise of the K-pop adjacent industries

ABSTRACT Much scholarship on the labor of Korean popular music (K-pop) fans has focused on the work they do to produce popularity of their favorite groups, such as campaigns to chart a new release. The focus of this article is how fans have become producers of items and services consumed by other fans, not just cheerleaders or consumers. In tandem with K-pop’s success, an entire secondary industry that is dependent on K-pop’s popularity, while also amplifying it, has emerged. The K-pop industry is now supporting and supported by a multitude of people, some of whom seek the lime-light and others who eschew it, who may be earning money through various K-pop-dependent activities—secondary yet autonomous industries. These participants support K-pop fandom, and may even become secondary stars. I conducted in-person and online interviews with producers and consumers of goods and services related to K-pop. These industries have become an integral part of K-pop today, introducing and enabling personal encounters with K-pop and Korea. As the young entrepreneurs of the K-pop adjacent industries pour energy into not just consumption but also creative endeavors, they make K-pop highly interactive. First, these industries have created a bridge—an area of interaction, exchange, and education between Korean musical stars and their non-Korean fans. Second, the industries have emerged as an economically significant aspect of the K-pop ecosystem. Third, this K-pop adjacent industry demonstrates a future area of tension over ownership of culture.

Penggunaan Akun Twitter Sebagai Media Komunikasi Di Kalangan Penggemar Musik Korean HIP HOP

Social media is media created to facilitate communication for humans. Twitter is one of the social media that is currently used by many people, not only to communicate but also to write opinions, to news. Fans as a community gather online through social media Twitter. These fans are joined in a community for the presence of a brand. Indonesia is ranked 1st as a country that talks about K-Pop on Twitter the most. Apart from talking about K-Pop, Twitter users also talk about other music genres such as Korean Hip-Hop. Base on social media Twitter, is an account that accommodates people who have the same interests to share information and communicate. The purpose of this study is to find out how social media Twitter becomes a medium of communication for fans of Korean Hip-Hop music. The research method used is a case study with a qualitative approach. The data analysis technique used in this study was by conducting interviews with six informants and one triangulator. The results of the study show that through User- Generated Content it produces an active community of Korean Hip-Hop music fans on the @khhfess account. That way the role of fans on the @khhfess account is very influential in the growth of the Korean Hip-Hop community on Twitter. This proves that Twitter social media can be the right communication medium for a community to discuss and share information.

Ticket War Konser Coldplay dan Fenomena Fear of Missing Out

Coldplay, as one of the most popular bands in the world, is often the center of attention of global music fans. Their concerts are considered unforgettable experiences, and tickets are often a rarity. This research uses Self Determination Theory which includes autonomy, competence and connectedness, aiming to analyze the influence of FOMO (Fear of Missing Out) on the competition for tickets to the 2023 Coldplay concert. Phenomenology is used to find out how FOMO is among Coldplay’s fans with the points Edited Content, Continuous Update , Social Comparison, Comments & Likes, Events & Social Invitations. This research uses a qualitative approach by conducting interviews, observation and documentation. The research results show FOMO behavior among Coldplay fans; 1) Autonomy, watching concerts is a personal desire; 2) Competence, a Coldplay concert is considered an achievement, creating satisfaction; 3) Connectedness, increasing motivation to get involved in the concert. Media content influences feelings of FOMO. Social media algorithms make it easier to access information. Social comparison triggers feelings of envy, but people's success in getting tickets through events & social invitations does not affect feelings of FOMO. FOMO and the influence of social media encourage people to get involved in Coldplay concerts, thus creating satisfaction. When individuals are in a missing out situation, some of them experience disappointment, but others respond to these feelings by diverting their disappointment into positive things.

Shake to the Beat: Exploring the Seismic Signals and Stadium Response of Concerts and Music Fans

Abstract Large music festivals and stadium concerts are known to produce unique vibration signals that resemble harmonic tremor, particularly at frequencies around 1–10 Hz. This study investigates the seismic signals of a Taylor Swift concert performed on 5 August 2023 (UTC) as part of a series at SoFi Stadium in Inglewood, California, with an audience of ∼70,000. Signals were recorded on regional seismic network stations located within ∼9 km of the stadium, as well as on strong-motion sensors placed near and inside the stadium prior to the concert series. We automatically identified the seismic signals from spectrograms using a Hough transform approach and characterized their start times, durations, frequency content, particle motions, radiated energy, and equivalent magnitudes. These characteristics allowed us to associate the signals with individual songs and explore the nature of the seismic source. The signal frequencies matched the song beat rates well, whereas the signal and song durations were less similar. Radiated energy was determined to be a more physically relevant measure of strength than magnitude, given the tremor-like nature of the signals. The structural response of the stadium showed nearly equal shaking intensities in the vertical and horizontal directions at frequencies that match the seismic signals recorded outside the stadium. In addition, we conducted a brief experiment to further evaluate whether the harmonic tremor signals could be generated by the speaker system and instruments, audience motions, or something else. All evidence considered, we interpret the signal source as primarily crowd motion in response to the music. The particle motions of the strongest harmonics are consistent with Rayleigh waves influenced by scattered body waves and likely reflect how the crowd is moving. Results from three other musical performances at SoFi in summer 2023 were similar, although differences in the signals may relate to the musical genre and variations in audience motions.

THE EFFECT OF DISTRIBUTION, DIGITAL MARKETING AND CONSUMERS ON INTEREST IN BUYING KOREAN MUSIC ALBUM IN STUDENTS

This study aims to determine "The Influence of Distribution, Digital Marketing and Consumer Attraction on Students' Interest in Buying Korean Music Albums (Study on Korean Music Fans in the Sigli Area, Pidie Regency)". Where the independent variables are Distribution (X1), Digital Marketing (X2) and Attractiveness (X3), and Purchase Interest (Y) as the dependent variable. The population in this study were students who are fans of Korean Music in the Sigli Area, Pidie Regency. Then the Simple Random Sampling method is used, namely the sampling of members of the population is done randomly without regard to the existing strata in the population. Based on the research results, the regression equation is obtained: Y = 2.028 + 0.316 X1 + 0.232 X2 + 0.415 X3. Based on the results of the analysis above, it can be concluded that of the three variables studied, it turns out that the consumer attractiveness variable (X3) has the most dominant influence of 41.5% on buying interest (Y) Korean music albums for Korean music fans in the Sigli area, District Pidie. The influence between the dependent and independent variables, namely each distribution variable (X1), digital marketing (X2) and consumer attractiveness (X3) on buying interest (Y) Korean music albums for Korean music fans in the Sigli area, Pidie Regency with a correlation index of 92.1% This means the relationship is very strong.

FIGURATIVE LANGUAGE IN SELECTED LOVE-THEMED SONGS IN THE ALBUM "34 NUMBER ONES" BY ALAN JACKSON

Alan Jackson is a country music singer who has enthusiasm for supporting and maintaining the existence of country music. Figurative language is found in many Alan Jackson songs, which makes it difficult for listeners to understand the meaning of the song lyrics. Country music was feared to disappear since country music fans are mostly adults. Thus, understanding the meaning of figurative language in Alan Jackson songs to avoid misunderstanding the meaning is also the aim of this research. A qualitative method was used while conducting this study, which was considered more suitable to be applied. Eighteen songs have been selected from the album “34 Number Ones” based on love themed. The result showed eighty-six data and thirteen types of figurative language found in the 18 Alan Jackson songs. This study found that the types of figurative language in the eighteen selected Alan Jackson songs appeared as additional words and established a consistent rhythm in the songs. Also, it impacted the meaning that was explained deeply in the songs. Hopefully, this study can provide knowledge of figurative language along with new insights for listeners and be a contribution to further research.

Completing the Circle: A History of Psychedelics and Harm Reduction.

Harm reduction officially entered the public health lexicon in the 1980s as a response to the HIV/AIDS crisis and its spread amongst intravenous drug users, but risk prevention has been an important part of psychedelic consumption in ways that predate this formal conceptualization.We look at psychedelic drug trials in the 1950s and 1960s to consider how people-first perspectives informed those early clinical studies, and how pioneering psychedelic researchers themselves approached risk management at a time that predates the formal recognition of harm reduction. Next, we follow psychedelic drugs out of the clinic and into music scenes and festivals that proliferated during the war on the drugs, where community-based organizations stepped up to support music fans who chose to combine psychoactive substances with dancing and drugs at all-day festivals. Finally, we reflect on the longer history and traditions of the Native American Church as one specific example of how Indigenous ceremonies involving psychedelic substances combined spirituality and healing in a community setting curated to promote wellness. Ultimately, we argue that psychedelic risk management has deep historical roots in psychedelic communities representing biomedical, cultural, and Indigenous perspectives - we might heed these historical lessons as we consider how to promote sustainable risk management strategies with psychedelics going forward.

THE COMMODIFICATION OF POPULAR MUSIC IN DIGITAL ERA (Case Study of Music Label’s Sun Eater)

The development of digital technology has changed the business structure of the music industry. The presence of social media and music streaming services adds to the size of the music industry itself, starting from the intersection of various actors (music labels, artists/musicians, music streaming service applications, music consumers), interests (business and state regulations), to power (distribution networks), especially in the perspective of the political economy of communication. In the context of this research, the object of research is the independent music label Sun Eater. This study uses a qualitative research method with an intrinsic case study approach. In line with that the data collection used is observation, in-depth interviews and documentation studies. The results of this study indicate that the content commodification carried out by Sun Eater as a music label is not focused on the music itself. But it wraps up the issues of today's youth and makes them like lyrics, pictures and videos. In audience commodification, Sun Eater does not put the audience as mere music fans. However, with a consumer-centric and data driven approach, Sun Eater treats their audience (music fans) like mass media, by “selling” back on advertisers on various digital platforms. Finally, the Commodification of Workers, that musicians are not just music workers. Moreover, Sun Eater places musicians as workers who have other responsibilities, ranging from filming digital content, interacting with fans on social media, to photo shoots with advertisers.

SWOT Analysis of Classic Vocal Learning at The Medan Flow Music Course Institution

Classical vocals still have a special place in the hearts of music fans despite the complexity of learning them. The presence of music course institutions has an important role in shaping students to become skilled in the field of classical vocals. Based on this, this research aims to determine classical vocal learning strategies at the Flow Music course institution. The theories used in this research are SWOT analysis theory, learning methods, and classical vocals. The data sources in this research consist of primary sources, namely classical vocal instructors and students, while secondary sources consist of information obtained by other people or other sources previously. The data collection techniques used in the research were observation, interviews, and documentation. The research results show that the classical vocal learning strategy at the Flow Music course institution was identified from internal strengths and weaknesses as well as external opportunities and threats with the strategy results being: 1) Increasing collaboration with schools, arts institutions, and local churches to increase visibility and attract more many students; 2) Applying distance learning technology to reach students from various locations; 3) Conduct active recruitment to address the shortage of instructor quantity; 4) Establish partnerships with related music institutions in more strategic locations; 5) Increase online marketing efforts; 6) Manage finances wisely to overcome the threat of unstable economic conditions; 7) Organizing local music events and competitions involving the participation of students and the general public; 8) Improving service quality through music workshops and collaboration with the local music industry.

Informal learning of Spanish in a Chinese music fan community

In the context of digitalization and participatory culture, pop culture has sparked numerous online linguistic practices exhibiting the potential for informal language learning. This study centers around an online community consisting of Chinese fans of Spanish-language pop music. Adopting the virtual ethnography approach and using mixed methods including interviews and web-crawling of fan production, we collected data from one particular member who devotes his free time to translating Spanish-language song lyrics into Chinese, and we analyze how informal language learning takes place in this context. Our results indicate that 1) the flexibility of roles and collaborations within the community contribute to the co-construction of knowledge; 2) fan practices are fueled by the technology-facilitated fulfillment of emotional needs and the formation of a shared identity; and 3) systematic strategies appear when amateur online translators go about trying to translate colloquial expressions in a foreign language. Among these strategies are the triangulation of meanings across lyrics, the use of multiple online tools, a reliance on feedback from fellow community members, and a critical approach to sources with an eye to ensuring their reliability. These findings showing highly specialized information retrieval and critical literacy skills in fan practices could serve as inspiration for integrating lyrics translations into formal language education to enhance the acquisition of non-standardized vocabulary and the cultivation of critical thinking.

Exploring Transcultural Communication via Perceived Social Distance and Intergroup Acceptance toward K-Pop and Asian Culture

Well-known K-pop (Korean popular music) bands have gained the status of pop music icons, owing to their widespread popularity around the world. This study explored the interrelations between a set of relevant social and psychological factors to explain how K-pop has also contributed to a one-of-a-kind transcultural communication phenomenon on the Internet via social media. An online survey was conducted with a sample of non-Asian American college students, as K-pop is highly popular among this group of music fans. A path analysis was performed to test a conceptual framework that integrated social distance theory, common ingroup identity model, and dialectical mode. The conceptual framework theorizes that perceived social distance and intergroup acceptance between individuals of non-Asian and Asian descent, as well as perceived musical similarity between Western and K-pop cultures, will underscore the intention for transcultural social media communication about K-pop. The current study contributes to advancing the literature by addressing the social-psychological domain of transcultural communication in the context of popular entertainment across social, cultural, lingusitic, and national boundaries.

Speech audiometry indicators for diagnosis of hidden hearing loss in MP3 player users

StudywasconductedonthebasisoftheNationalCenterofAudiologyandS.tudy was conducted on the basis of the National Center of Audiology and S. KhechinashviliUniversityClinic.Apopulationof18to30yearsofagewasin-Khechinashvili University Clinic. A population of 18 to 30 years of age was in-cludedinthestudy–40subjectsand15individualsintheagegroup(50to55cluded in the study – 40 subjects and 15 individuals in the age group (50 to 55 years)wereselectedbasedontheirwillingnesstoparticipateinthestudybasedyears) were selected based on their willingness to participate in the study based onnon-randomcomplaintcomplaintsattheclinic.Themaingroupincluded22on non-random complaint complaints at the clinic. The main group included 22 (40%)MP3users,whilethecontrolgroupincluded18(33%)non–usersand(40%) MP3 users, while the control group included 18 (33%) non – users and 15(27%)personsinthemiddleagegroup.Ofthese,37(67%)werefemaleand15 (27%) persons in the middle age group. Of these, 37 (67%) were female and 18(33%)weremale.Auditorythresholdsweremeasuredmonaurallybythepure18 (33%) were male. Auditory thresholds were measured monaurally by the pure toneaudiometerwithinthebandof0.125-16kHzfrequencies.Attheprincipaltone audiometer within the band of 0.125-16 kHz frequencies. At the principal speechfrequencylink,1-8kHz,thethresholdsinplayermusicusersdidnotspeech frequency link, 1-8 kHz, the thresholds in player music users did not differfromthoseinnon-users.Athigherfrequenciesfrom9-16kHz,however,differ from those in non-users. At higher frequencies from 9-16 kHz, however, theplayermusicfanspossessedgreaterthresholdsmorethan25dB.Inanoisythe player music fans possessed greater thresholds more than 25 dB. In a noisy environment,speechaudiometryinnoisewasperformedtotesttheabilitytoenvironment, speech audiometry in noise was performed to test the ability to correctlydistinguishwords.Byexaminingtheresultsofspeechaudiometry,itcorrectly distinguish words. By examining the results of speech audiometry, it wasfoundthatoutof100wordsandthentheyrepeatthem.Mp3playeruserswas found that out of 100 words and then they repeat them. Mp3 player users hadworseresultthanadultgroup,higherunderstandingresultshadnon-users.had worse result than adult group, higher understanding results had non-users. The process of hearing disturbances along with a group-systematic character seemedthustoownanindividual-sensitivequalityalso.Systematicaudiometricalseemed thus to own an individual-sensitive quality also. Systematic audiometrical inspectionofpersonalmusicplayerfollowersisrecommendedforanin-timeinspection of personal music player followers is recommended for an in-time disclosureofahearingdisorderandanimmediatestartthenofcorrespondingdisclosure of a hearing disorder and an immediate start then of corresponding treatmentandpreventivemeans.Thehearingtestinghastoincludehightonetreatment and preventive means. The hearing testing has to include high tone frequencies,9-16kHz.Speechaudiometryinthenoisecanbeconsideredlikefrequencies, 9-16 kHz. Speech audiometry in the noise can be considered like goldstandardfordiagnosticofHiddenHearingLoss.gold standard for diagnostic of Hidden Hearing Loss.

KONSEP DIRI PENGGEMAR MUSIK DISKO PEMUDA JAGA EMPAT DESA KANONANG SATU

This study aims to determine the Self-Concept of Disco Music Fans in Jaga 4 Kanonang 1 Village . This is a qualitative descriptive study and used observations, interviews and documentation for data collection,the subject of this research was of teenagers. The results of this study indicate that have a positive self-concept they from the social aspect they remain friendly to the community, if other people criticize it, and it becomes a motivational material. From the psychological aspect, it brings good things for them, when they hear disco music, their mind changes from being stressed to being calm. From the physical aspect, they feel healthier and more enthusiastic, becoming more confident in doing things. they are easier to socialize in the community, even in terms of their religion is still a priority.

Stereotypes in media representations of boy bands and their fans

Boy bands have long been disparaged in music journalism, in part because of their association with teenage and prepubescent girls who are their primary fans. This study uses media stereotypes of musicians and their fans to see how the interplay of age and gender among these two constituencies is associated with negative stereotyping in music journalism. This study fills a gap in scholarship with a quantitative comparison of how modern boy bands and their fans are stereotypically portrayed compared to non-boy bands and their fanbases in a generalizable way. A content analysis of UK and U.S. music journalism from 2010 to 2015 finds that young women music fans continue to be stereotyped, and that boy bands are diminished through stereotypes that are gendered feminine, most prominently about their age and youth, authenticity of the music, and innocent sexuality. However, the boy bands were not diminished through feminine tropes more closely aligned with women fans, such as with the use of emotional language. Being young and male does not automatically mean marginalization and stereotyping, however – the young men in the non-boy bands were consistently referred to in non-stereotypical ways.

Startup Development Project: Munchies Merch

Everyone certainly has their entertainment tastes, such as being more likely to like Chinese pop music (C-Pop) and Korean pop music (K-Pop). It is undeniable that the world of music today has spread to various countries and hit many people, from teenagers to adults. This business project of Munchies Merch is made for music fans who love collecting all of their favorite band's merchandise. The business project of Munchies Merch will create innovation by making a forum for all the K-Pop and C-Pop. The flow of orders to the transaction system is the same as the big e-commerce in Indonesia. Keeping up with technological advances, this business tries to create an experience of making a forum for the fans that will give a new experience of shopping, hangouts, and getting new friends on it. In this business project, several aspects will be discussed, such as marketing, human resources and management, operations, and finance. The method that will be used for this business project is market research directly to the segmented people (the music fans and people who like to collect merchandise from a band) to find if the business is feasible to run. The expected result that Munchies Merch wants is to become a huge merchandise market for all music fans and lovers and become an official distributor of albums, photos, clothes, and many more from the artists.

Passion, music, and psychological well-being

Passionate music engagement is a defining feature of music fans worldwide. Although benefits to psychosocial well-being are often experienced by fans of music, some fans experience maladaptive outcomes from their music engagement. The Dualistic Model of Passion proposes that two types of passion—harmonious and obsessive—are associated with positive and negative outcomes of passionate engagement, respectively. This model has been employed in research on passion for a wide range of pursuits including music performers, but not for passionate listeners. The present study employed this model to investigate whether (1) harmonious passion for music is associated with positive music listening experiences and/or psychological well-being and (2) obsessive passion for music is associated with negative music listening experiences and/or psychological ill-being. Passionate fans ( n = 197) of 40 different musical genres were surveyed about their experiences when listening to their favorite music. Measures included the passion scale, affective experiences with music, and psychological well-being and ill-being. Results supported the Dualistic Model of Passion. Structural equation modeling revealed that harmonious passion for music predicted positive affective experiences which, in turn, predicted psychological well-being. Conversely, obsessive passion for music predicted negative affective experiences which, in turn, predicted psychological ill-being. The findings suggest that the nature of passionate engagement with music has an integral role in the psychological impact of music engagement and implications for the well-being of music fans.

KOPI-SENJA DAN INDIE: ANALISIS REPRESENTASI LAGU ‘TAK PERLU ADA SENJA’ DAN ‘KOPI, SENJA, DAN LOGIKA’

Song lyrics are an example of how music is a cultural tool that is used in society to shape social reality. Because there was no power relations from market demand during the industrialization of independent music, it became a counterculture. Indie music is a new lifestyle trend, especially for coffee lovers, because it frequently features songs with poetic lyrics about savoring the sunset as well as resistance. Fans of independent music cannot separate the three elements of dusk, coffee, and indie music. This study aims to examine how coffee-speech is portrayed in two songs with twilight themes. The formulation of the problem in this study is how the lyrics of the song 'Tak Perlu Ada Senja' sung by Suara Kayu ft. Fiersa Besari and the song 'Kopi, Senja, dan Logika' sung by the band Nosstress represent kopi-senja as a new term for indie music fans in Indonesia ?”. This research is a qualitative research through a textual/literary approach using Ferdinand de Saussure's semiotic analysis method. The author divides the song's text into two meanings, the signifier and the signified, using Ferdinand de Saussure's semiotic analysis. In conclusion, coffee and dusk go hand in hand with indie music. It turns out that coffee is a popular beverage among people who do more than just hang out in coffee shops. However, coffee has a positive energy that might inspire.