Artist-Fan Engagement Model
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ARTIST-FAN ENGAGEMENT MODEL: IMPLICATIONS FOR MUSIC CONSUMPTION AND THE MUSIC INDUSTRY by SARITA M. STEWART SHUHUA ZHOU, COMMITTEE CHAIR KIMBERLY BISSELL KARLA GOWER EYUN-JUNG KI ARTHUR ALLAWAY A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Communication & Information Sciences in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2013 Copyright Sarita Martin Stewart 2013 ALL RIGHTS RESERVED ABSTRACT The Artist-Fan Engagement Model was developed to help explain the various factors present within the music artist-fan relationship. Its premise is based on the simple consumptive action of listening to an artist’s music. The model contains two key constructs, the first being the individual’s “Response To Artist,” which is explained using an expanded construct of parasocial interaction theory (e.g., Identification, Affinity, Similarity, and Imitation). A second “Response To Music” variable is comprised of four different music responses (e.g., Emotional, Sensorial, Imaginal, and Analytical) key in hedonic consumption. The influence of these two variables on “Engagement” was assessed. This was followed by an examination of how “Engagement” influences “Recorded Music Access” (e.g., broadcast, unpaid downloads, free streaming) and “Recorded Music Ownership” (e.g., paid subscription, paid downloads, and physical products). The study’s hypotheses and research questions were tested using an anonymous online survey. A total of 1,576 participants accessed the survey, with 940 respondents evaluating 806 individual song titles by 568 music artists. Structural Equation Modeling was the methodology used to analyze the collected survey data, which is in keeping with previous music oriented consumer behavior studies. Empirical support was not found for the Artist-Fan Engagement Model. However, within the sample data, strong positive correlations were found among the “Response To Artist” factors, which was consistent with previous studies. Strong correlations were also found between the “Response To Music” and the various listening responses. Both “Response To Artist” and ii “Response To Music” variables were positively related to “Engagement.” This variable in turn had strong positive correlations to “Recorded Music Access” and “Recorded Music Ownership.” Finally, the various relationships among the consumption outcomes related to “Recorded Music Access” and “Recorded Music Ownership” were evaluated. The dissertation concludes with a discussion of the implication of these various findings to music marketing activities, as well as the study’s limitations and future research considerations. The scholarly contribution of this dissertation blends together a theoretical understanding of parasocial interaction theory and hedonic music consumption in an applied fashion working within the structural framework of the music industry. iii DEDICATION This dissertation is dedicated to my family, especially my husband, Robert L. Stewart. His support of this academic achievement, even when the going got tough in terms of family sacrifices made, must be recognized. I also want to acknowledge the memory of my father William J. Martin, and my in-laws, Bobbye P. and Benton L. Stewart, all of whom were always so supportive in my educational efforts. Their guidance and love was important to me, and helped me to become the person that I am today. Thanks to my mother, Virginia, stepfather, Lawrence Weishart, and sister Molly Cummings in their continued cheerleader efforts throughout all of my life endeavors. Most importantly however, I want to dedicate this dissertation to our families’ collective future in grandchildren, Ella R. Stewart, Braeden R. Bubis, Benton L. Stewart, III., and those yet to arrive. My pledge to you three (as well as your future siblings and cousins) is to pay forward all that I’ve been given by helping you to become the people that you are meant to be. G’ma loves you! iv LIST OF ABBREVIATIONS AND SYMBOLS a Cronbach’s index of internal consistency df Degrees of freedom: number of values free to vary after certain restrictions have been placed on the data M Mean: the sum of a set of measurements divided by the number of measurements in the set p Probability associated with the occurrence under the null hypothesis of a value as extreme as or more extreme than the observed value 2 R R squared: measure of effect size SD Standard deviation: a measure of variation from the mean r Pearson product-moment correlation χ2 Chi-squared > Greater than < Less than = Equal to v ACKNOWLEDGMENTS It takes a multitude of team members to help a music artist “breakthrough” to become a recording star. This same collective action is necessary when walking with a doctoral student through the Ph.D. process. I am truly grateful to my committee, family, friends, colleagues, and students for helping me get to the finish line. I am especially thankful to my husband Robert for his love, support, and encouragement throughout this long process. I love you! The time that I spent studying in Tuscaloosa was both a privilege, and as Robert has often referred to it, “our great adventure.” I would like to thank my esteemed committee chair, Dr. Shuhua Zhou, for working so closely with me through this educational process. You’ve always inspired me to do my best in terms of academic scholarship. I’ve greatly appreciated your steady guidance and mentorship over these past five years. I’d also like to thank my wonderful committee members for their guidance and encouragement. To Dr. Kimberly Bissell, our relationship solidified when I worked for you during your first year as the Director of the CI&S ICIR. You have always been so supportive of my scholarly efforts. Dr. Karla Gower, words cannot express how much I have valued your friendship. Your Public Communication class was a turning point in the development of this dissertation. Dr. Eyun-Jung Ki, thank you so much for coming on board following my completion of the comprehensive exams. I have benefited so much from your expertise. And to Dr. Buster Allaway, we have always had much fun discussing music business topics. Thanks for all of your guidance on this dissertation as “the survey guy.” vi There have been numerous others whom have also been very special to me these past five years. I’d especially like to thank my first Graduate Studies Dean, Dr. Jennings Bryant, who was so instrumental in my decision to enter the Ph.D. program. You were absolutely correct when you wrote, “I am confident you have made the right decision to come to Alabama.” Dr. Charles G. Leathers, Professor Emeritus in the Culverhouse College, has always been so encouraging in regards to my scholarly pursuits. Finally, our department assistant, Diane Shaddix, has been a good friend. I am grateful for her great direction and guidance. I would also like to say a warm “thank you” to my Belmont University colleagues as well. Dr. Wesley Bulla, the Dean of the Mike Curb College of Entertainment and Music Business, was very supportive throughout this process, especially in helping me secure doctoral sabbatical leave. I also like to thank our former Provosts, Dr. Dan McAlexander, and Dr. Marcia McDonald, as well as our current Provost, Dr. Thomas Burns, for their support of this educational endeavor. Dr. J. Patrick Raines, Dean of the College of Business Administration, and who earned his Ph.D. at Alabama, has been a wonderful ally. Finally, I’d like to extend special thanks to my colleagues Dr. Clyde Rolston, Dr. David Herrera, and Dr. Larry Wacholtz for their supportive guidance in how to “stay the course” throughout my doctoral education. I’d like to thank my family, especially our children and their spouses, Dr. Bert and Megan Stewart, Lee and Erin Stewart, and Sydney and Brent Bubis. I needed your support and love, and you gave it to me in spades. Finally, Missy, my 12-pound toy rat terrier, has literally been by my side throughout this entire adventure. She has earned many greenies for her loving support throughout this educational process. In short, these past five years have been some of the best in my life. Roll Tide! vii TABLE OF CONTENTS ABSTRACT ................................................................................................ ii DEDICATION ........................................................................................... iv LIST OF ABBREVIATIONS AND SYMBOLS ........................................v ACKNOWLEDGMENTS ......................................................................... vi LIST OF TABLES ..................................................................................... xi LIST OF FIGURES ................................................................................. xiii CHAPTER 1: INTRODUCTION ................................................................1 CHAPTER 2: LITERATURE REVIEW ...................................................10 a. The Cultural Industries ...........................................................................10 b. Music As Good ......................................................................................14 c. Business Practices of the Music Industry...............................................25 d. Artists, Fan Base, and Digital Technologies ..........................................55 e. Artist-Fan Engagement Platforms ..........................................................61 f. A Theoretical Introduction to the Artist-Fan Engagement Model .........80 g. Parasocial Interaction