Intergenerational transmissions and sharing of musical taste practices

The rise and fall of live online music event consumption during the pandemic: an analysis from the perspective of practice theory

“…In-depth interviews have been conducted in other studies of consumer behavior through the perspective of practice theory (C. Derbaix & M. Derbaix, 2019;Feiereisen, Rasolofoarison, Valck, & Schmitt, 2018;Fuentes et al, 2019;Gruen, 2017;Philip et al, 2019), under the justification of permitting the opportunity to investigate and reflect upon the behavior of practitioners, capture contemporary and historical practices, as well as allowing interviewees to discuss situations and respond to queries which, outside the present context could be considered invasive (Fuentes et al, 2019). Furthermore, the individual is a patchwork of practices, and it is through mental and assimilated performances that practices and their ties to consumerism may be fully understood (Feiereisen et al, 2018).…”

“…The need for belonging was related as having intensified during the beginning of the rise of the phenomenon (February through April 2020), through posts on social networks, and often involving elaborate preparation, aiming to demonstrate an affinity with the event, with that experiential cyber-space, and to relive sensations similar to those of pre-pandemic times (Skandalis, Banister, & Byrom, 2018;Skandalis, Byrom, & Banister, 2017). A feeling of nostalgia was also related, from musical compositions that referred to experiences before the pandemic and online live events by artists who had stopped performing otherwise and encouraged socialization, where interviewees would chat with friends, gather family, and recall the past, which highlights the importance of being in the company of peers and family to these practitioners (C. Derbaix & M. Derbaix, 2019;Meuleman, Lubbers, & Verkuyten, 2018), as well as the importance of music as a mood regulator (Hollebeek et al, 2016;Schäfer et al, 2013). However, due to the large volume of online musical live events, and the element of repetition, the novelty factor of the experience was soon in decline: "If I missed an online live music event, next week there would be another" (I4 quote).…”

A ascensão e decadência do consumo de lives musicais durante a pandemia: uma análise sob o prisma da teoria da prática

“…A ascensão e decadência do consumo de lives musicais durante a pandemia: uma análise sob o prisma da teoria da prática Frederico Leocádio Ferreira Juliana Entrevistas em profundidade foram utilizadas por outros trabalhos sob o prisma da teoria da prática no campo do comportamento do consumidor (C. Derbaix & M. Derbaix, 2019;Feiereisen, Rasolofoarison, Valck, & Schmitt, 2018;Fuentes et al, 2019;Gruen, 2017;Philip et al, 2019), sob a justificativa de que dá a oportnidade de questionar sobre o comportamento e os pensamentos sobre o comportamento dos praticantes, capturando práticas contemporâneas e históricas, bem como permite que informantes falem sobre situações que, de forma indireta, seriam invasivas (Fuentes et al, 2019). O indivíduo ainda é um ponto cruzado de práticas, e é por meio das performances mentais e incorporadas que as práticas e seus links com o consumo são totalmente compreendidos (Feiereisen et al, 2018).…”

“…Essa sensação de pertencimento foi relatada, de forma mais acentuada, no início do fenômeno (fevereiro a abril de 2020), com postagens em redes sociais, muitas vezes, envolvendo um preparo elaborado, almejando mostrar pertencer àquele contexto, àquele lugar cibernético e experiencial, e trazer de volta sensações semelhantes às de outrora (Skandalis, Banister, & Byrom, 2018;Skandalis, Byrom, & Banister, 2017). O sentimento de nostalgia também esteve presente, com composições que remetiam a experiências antes da pandemia e performances de artistas que já não se apresentavam e incentivavam a socialização, quando os entrevistados comentavam com amigos, reuniam família e relembravam o passado, o que evidencia a importância dos pares e da família para a prática do consumo musical desses praticantes (C. Derbaix & M. Derbaix, 2019;Meuleman, Lubbers, & Verkuyten, 2018), bem como da música enquanto reguladora do humor (Hollebeek et al, 2016;Schäfer et al, 2013). Porém, devido ao grande volume de lives musicais e à repetitividade, o caráter inédito e a experiência coletiva foram perdendo sua força: "se eu perdesse a live, na outra semana tinha outra" (E14).…”

Social Downgrading on Consumer Values and Practices: A Transgenerational Perspective

“…This influence would explain why certain consumption behaviours persist from generation to generation. The mechanisms of intergenerational transmission and nostalgic connections are all foundations for the construction of transgenerational capital that is expressed through consumption (Ladwein, Carton and Sevin, 2009;Derbaix and Derbaix, 2019).…”