How do music consumers come into contact with the music they like? How is music consumption patterns developed? Using a phenomenological approach this master's thesis sets out to answer a number of questions regarding the development of music consumption patterns. To do this in-depth interviews has been carried out with eleven respondents who were interviewed about their experi- ences of developing a music consumption pattern. Through this research it is shown how the development of music consumption patterns is a long process which begins with the introduction of the music consumer to an artist or group upon which future consumption will be conditioned and continues through the constant adding of new music and knowledge until the music listener one day stops developing his or her taste further and the music consumption stagnates. This research has also made possible the analysis of how well three influential theoretical models are at explaining music consumption from the perspective of the music consumer.

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The rise of the streaming music services and the decreasing importance of physical distribution is an inevitable change that the industry has been facing, which is resulting from the so-called internet revolution over the past few years. Through years, the music business has already shifted to online platform with the birth of file sharing. Today, a generation who had grown up digital came to age. Members of this generation have different consumption habits than before, and have different motives toward consumption. The consumer behavior of this group was examined at different stages of the digital revolution during last decade. However, although there is a wide number of researches have examined online consumer behavior and the adoption file-sharing technologies, no study investigated the use of streaming music services. Therefore, in order to understand the changing consumption behavior of the net generation music consumers, and to under-stand the use of streaming music services, this study extends the Technology Acceptance Model (TAM) to account the streaming music services. A questionnaire based empirical study was administrated among the users of Sweden based streaming music service Spotify. Results confirm that there is a significant relationship between users‟ perceived usefulness of service use, and their attitude toward using and their behavioral intention to use. In addition, it is also confirmed by the results that advertisement/charge, flow, and social influence are effective in explaining the motives of users‟, and the use of streaming music services. Furthermore, according to the findings of the study streaming music services have a positive effect on decreasing the music piracy.

<p>The rise of the streaming music services and the decreasing importance of physical distribution is an inevitable change that the industry has been facing, which is resulting from the so-called internet revolution over the past few years. Through years, the music business has already shifted to online platform with the birth of file sharing. Today, a generation who had grown up digital came to age. Members of this generation have different consumption habits than before, and have different motives toward consumption.</p><p>The consumer behavior of this group was examined at different stages of the digital revolution during last decade. However, although there is a wide number of researches have examined online consumer behavior and the adoption file-sharing technologies, no study investigated the use of streaming music services. Therefore, in order to understand the changing consumption behavior of the net generation music consumers, and to under-stand the use of streaming music services, this study extends the Technology Acceptance Model (TAM) to account the streaming music services. A questionnaire based empirical study was administrated among the users of Sweden based streaming music service Spotify. Results confirm that there is a significant relationship between users‟ perceived usefulness of service use, and their attitude toward using and their behavioral intention to use. In addition, it is also confirmed by the results that advertisement/charge, flow, and social influence are effective in explaining the motives of users‟, and the use of streaming music services. Furthermore, according to the findings of the study streaming music services have a positive effect on decreasing the music piracy.</p>

In the past few decades people’s attitude towards music consumption has tremendously changed in China. With the constantly rising market and huge potential space, it is necessary to study the consumer behavior and explore factors that decide people’s willingness to pay in music consumption. Therefore, the purpose of this thesis is to investigate: 1) What factors may influence the Chinese consumer behavior on music and its merchandise; 2) What factors may influence the “willingness to pay” of Chinese consumer in music consumption; 3) The similarities and differences between the consumption of music product and musical merchandise in China. The authors select the qualitative method and set up two focus groups, music product group and music merchandise group, in this study. Finally, they found five dimensions (musical preference &amp; identity, culture of music, musical loyalty &amp; satisfaction, Chinese music consumption, willingness to pay) will interaction with each other and influence Chinese consumer behavior on music product and its merchandise.

Pendant des décennies, la France a imposé des quotas pour la musique francophone. Les stations de radio doivent réserver un pourcentage minimal de pièces musicales pour les chansons de langue française depuis 1996. Le développement des services de diffusion en continu, sans quotas, a changé notre façon d'écouter de la musique et pose un nouveau défi aux organismes de réglementation. L'applicabilité des quotas est de plus en plus difficile dans l'industrie de la radiodiffusion et pose la question du désavantage concurrentiel. Dans cette thèse, j'essaie de répondre à trois questions principales sur le thème de la consommation de musique dans cet écosystème en mutation. Dans un premier temps, j'examine empiriquement les réponses stratégiques des radios françaises aux quotas de musique francophone. Les stations respectent-elles les quotas? L'audience réalisée pour la musique francophone est-elle inférieure à ce qu'elle serait en l'absence de ces réponses stratégiques? Pour répondre à ces questions, j'utilise des données détaillées sur les listes de lecture des principales stations de radio en France pour montrer que les stations ont une certaine latitude pour ajuster leurs playlists soumises aux contraintes de quotas. Deuxièmement, je construis un ensemble de données pour fournir des preuves descriptives sur les services de radio et de streaming. Ce sont des modèles économiques entièrement différents et ils ne sont pas comparables sans ajuster l'ensemble de données pour refléter les différences. Afin de comparer le nombre de titres musicaux sur les stations de radio avec le nombre de flux sur les services de streaming, je développe une méthodologie pour combiner les données radio avec les données en streaming en France en 2016. Troisièmement, en utilisant cette nouvelle base de données, la variété des motifs et de la musique sur les services de streaming se compare à celle de la radio. Je fournis également des preuves empiriques sur les ex ternalités de consommation des deux marchés. / For decades, France has imposed quotas for Francophone music. Radio stations need to reserve a minimum percentage of total song plays for French-language songs since 1996. The development of streaming services, which faces no quotas, has changed how we listen to music and poses a new challenge to regulators. The applicability of quotas is increasingly difficult in the radio broadcasting industry and raises the question of competitive disadvantage. In this thesis, I try to answer three main issues on the topic of music consumption in this changing ecosystem. First, I empirically examine the strategic responses of French radio stations to quotas for Francophone music. Do stations comply with the quotas? Is the realized audience for Francophone music lower than it would be in the absence of these strategic responses? To answer these questions, I use detailed data on the playlists of major radio stations in France to show that stations have some scope for adjusting their playlists subject to the quota constraints. Second, I build a dataset to provide some descriptive evidence on radio and streaming services. These are entirely different economic models, and are not comparable without adjusting the dataset to reflect the differences. In order to compare the audience number of music titles on radio stations with the number of streams on streaming services, I develop a methodology to combine radio data with streaming data in France in 2016. Third, using this novel dataset, I look at music consumption pattern and music variety on streaming services compares to that of radio. I also provide empirical evidence on the consumption externalities of both markets.

The aim of this study is to investigate the interrelationships between place and taste through a multi-sited ethnography of music consumption. Place and taste are important theoretical constructs that have been studied extensively across the humanities and social sciences. Yet, there is a scarcity of research that attempts to bring together these constructs in the fields of marketing and consumer research and beyond. In particular, prior consumer culture theory (CCT) research has not taken into account the spatial processes through which consumers enact, perform and further develop their tastes in the market place. More significantly, little empirical research illustrates how different consumption spaces tend to orchestrate and shape consumers’ tastes. As such, this study focuses on the context of music consumption and aims to explore spatial taste formation processes via consumers’ aesthetic experiences in popular (festival) and classical (concert hall) music places within the fields of indie and classical music consumption respectively. The emergent findings are structured upon four chapters (papers) and develop specific research objectives which revolve around the overarching aim of the study, namely the exploration of the interrelationships between place and taste. This study brings together both structural and experiential dimensions of taste and highlights the ontological significance of phenomenological understandings of space and place for marketing and consumer research.

Thesis(Ph.D. (Communication Studies)) -- University of Limpopo, 2022 / Digital technologies are increasingly revolutionising music consumption patterns globally. Consequently, there is an emerging culture in which online tools have become primary platforms for music consumption. In this postmodern era, digital technologies make music easily accessed, consumed and shared, thereby providing a seemingly global recognition to artistes beyond their immediate geographical market. As a result, artistes sometimes distribute their music for free with the intention to reach potential consumers. Equally, these technologies also allow consumers to illegally access and share music freely without financial compensation to the artistes. At the same time artistes also sell their music through different online stores to generate revenue. Alongside these developments, there are challenges with access to the Internet in South Africa with older adults and those in rural areas being disadvantaged, and the cost of Internet curtailing what youths can afford to do online. This then prompts critical questions: How do older adults and youth listen to music? Where and how do they access music? How does the new digitalised music affect their music consumption? What are the implications of all these to the social capital and social lifestyles of youth and older South African adults? Also, how has the digitalisation of music impacted on the political economy of the music industry in South Africa? In what ways do the illegal and legal downloads of music benefit or disadvantage local artistes? From a critical theorisation of an emerging ‘download culture’ and a discussion of the postmodern technological turn, this study examined a case study of South African youth and older adults’ music consumption pattern. Through a survey of 202 university students in a rural South African university and 100 older adults from semi rural areas of Limpopo Province in South Africa, the study examined the ways youth and older adults access and consume music. It explored music sharing habits and opinions about piracy in a culture where music has become instantaneously shareable. Apart from findings from this study, new knowledge and a contribution to communication scholarship is presented here with a proposal of new theory of ‘download culture’. Fundamental to this study is the implications of download culture for the creative industry, predominantly, its impact on the South African music industry. The data show that this cohort of South African youth are not different from youths globally, where music is accessed through mobile cell phones. This study also reflects that many older adults do not access digitalised music due to socio economic conditions and challenges of technology access. Nevertheless, the social cultural impact of this has repercussions on the cultural well-being of this vital group in society. Although internet access challenges persist, a critical concern is the blurring distinctions about the legal and illegal download of music. / National Institute for the Humanities and Social Sciences (NIHSS), in collaboration with the South African Humanities Deans Association (SAHUDA)

韓國的文化工業發展興盛，「韓流」以韓劇的出口為開端，近年來隨著韓國流行音樂 (K-Pop) 不斷向海外擴張，韓流不僅影響亞洲各國，在歐美各國也掀起一股潮流，而社群媒體可說是這股風潮的重要推手。藉著社群媒體，K-Pop觸及了更廣大的聽眾群，歌迷也可藉著社群媒體直接表達對於偶像的喜愛及忠誠。 隨著網路及新科技發展，音樂本身對於消費者將越來越便宜，實體唱片的銷量註定會持續下降；在這情況下，消費者在演唱會以及非音樂性衍生商品的消費，對音樂產業的重要性上升。因此了解願意付費觀賞演唱會以及購買衍生商品的樂迷，對音樂產業日趨重要。 檢視過去對於迷社群的研究，多從社會學及心理學的角度出發，缺乏從商學的角度切入的觀點，本研究旨在瞭解在數位音樂時代，社群媒體以及利用社群媒體串聯的迷社群，對於迷群音樂消費的影響。本研究以韓國偶像團體Super Junior的迷群為研究對象，以深度訪談方式，訪談11位Super Junior迷，了解迷的社群媒體使用習慣，以及社群媒體上的互動跟迷的音樂消費之間的關聯性。 經過深度訪談及資料分析，本研究得出以下三點結論：(1) 透過社群媒體集結的迷群，相較傳統的迷社群，雖然信任關係發展較慢，但社群媒體的人際關係發展與真實生活較貼近，在社群媒體的上的互動，對社群內部成員有較高的影響力；(2) 社群媒體對於迷群而言具有多重的功能：與Super Junior成員直接互動的工具、獲取最新資訊的管道、擴散有時效性訊息的媒介、和其他迷互動的媒介。在音樂消費的過程中，社群媒體除了是消費資訊來源地，也是買家跟賣家的媒合地，迷對於來自於社群內部的消費資訊有較高的信任感，因此雖然社群媒體上的迷群互動不會直接將使用者變成消費者，卻可以促成消費的完成，對於音樂消費有重要影響；(3) 社群媒體在音樂產業中扮演三個角色：音樂消費與擴散的媒介、音樂相關資訊的集中地、促成產業內各角色 (迷、歌手、唱片公司) 之間的交換 (exchange)。 / Korea’s cultural industry has enjoyed rapid growth due to the rise of “Korean wave (hallyu)”, which is led by Korean drama since 1990s. Korean wave has conquered Asia, but now with the rise of K-Pop, Korean wave reaches a wider audience in the West. Social media plays a crucial role for Hallyu’s success in the global level. Social networking media make K-Pop brands easier to reach global audience, and those fans use these media tools to proclaim their devotion and to promote K-Pop to their friends. This research categorizes music products into musical product, including records and live concert, and non-musical associated product, including concert paraphernalia. New digital technologies have transformed the ways of music consumption which results in decline in sales of musical products. However, fans tend to engage with a variety of products related to their interests, and their consumption on live concerts and non-musical associated product is getting important for music industry. Existing research on fan culture mainly comes from sociology or psychology viewpoint. This research discusses fan music consumption from management perspective and tries to explore the role social media plays to influence music consumption. This research uses the most popular K-Pop group, “Super Junior,” as a case. Through interviewing 11 Super Junior fans, this research examines how fans use social media to communicate and interacts with other fans in the fan community. Through in-depth interviews and data analysis, there are three main findings concluded by this research. First, compared to traditional virtual fan community, in terms of virtual fan community, it takes longer to develop the trust relationship on social media. However, the way fans communicate on social media is closer to the real life. As a result, interactions on social media influence members much greatly. Second, social media is a multi-function tool for fans, which allows them to directly communicate with Super Junior members, to quickly receive the latest information from other countries, to quickly spread timeliness information, and to communicate with other fans. Therefore, social media and fan community do contribute to fulfillment of music consumption. Last, social media plays three roles in music industry: the platform of media of music consumption and diffusion, a place where all music-related information are collected, a contributor to exchange between different players (fans, singers, music companies) in the music industry.