Simon's travel theorem and the demand for live music

Earl, Peter E.

doi:10.1016/s0167-4870(01)00037-x

Cited by 67 publications

(57 citation statements)

References 13 publications

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“…The demand for popular music of some frequent consumers is a demand for information, which can be catered by alternative means. For everyone else, the demand for live music has to be something else than the demand for information, as Earl (2001) suggested.…”

Section: Conclusion and Discussionmentioning

confidence: 99%

“…The substitutability relationship between live and prerecorded music for frequent consumers, and the fact that average music consumers may be different depending on whether they consume prerecorded or live music, allows us to link motivations to unobserved features, a finding that could accommodate any of Earl's consumption motives. Nevertheless, we need to point out that the available data in our data set restricts us from a throughout test of all the implications in Earl (2001).…”

Section: Conclusion and Discussionmentioning

confidence: 99%

“…Both are found in Earl (2001) and allow us to identify individuals that see music merely as information, and individuals that find social gathering as one relevant reason for attendance. Indeed, as it will be seen, what we will be testing is if social motivations are strong enough to prevent attendance.…”

Section: Restrictions On Attendancementioning

confidence: 99%

“…The magnitude of this gender effect is remarkably greater for prerecorded music, an activity that, in terms of information gathering, could be less risky than attending to a live concert. However, the social component of attendance, that is an individual's choice is driven by that of her partner, as Earl (2001) notes, could account for this observed gender effect. We will return to this later.…”

Section: Socioeconomic Variablesmentioning

confidence: 99%

“…Earl (2001) analyzes the behavioral economics of live popular music consumption. The author states that the demand for live music cannot be explained as the demand for an information good, as there are more efficient ways of gathering and of processing the same bits of information, for instance by watching a DVD of the same performance.…”

Section: Introductionmentioning

confidence: 99%

See 4 more Smart Citations

Live and prerecorded popular music consumption

Montoro–Pons

García

2010

J Cult Econ

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Section: Conclusion and Discussionmentioning

confidence: 99%

Section: Conclusion and Discussionmentioning

confidence: 99%

Section: Restrictions On Attendancementioning

confidence: 99%

Section: Socioeconomic Variablesmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 3 more Smart Citations

Live and prerecorded popular music consumption

Montoro–Pons

García

2010

J Cult Econ

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Concert experiences in virtual reality environments

et al. 2023

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Spurred by recent advances in digital technologies, virtual concerts have become established modes for event attendance and represent a rapidly growing segment of the music industry. Yet, up to now, general experience of virtual concert attendees remains largely underexplored. Here, we focus on a subcategory in this domain: music concerts in virtual reality (VR). Our approach is situated within the theoretical framework of embodied music cognition and entailed investigation through a survey study. Responses of seventy-four VR concert attendees were collected, consisting of demographics, motivations, experiences, and future perspectives. In contrast to previous research, which generally identified social connectedness as a main motivator for concert attendance, our sample regarded it as one of the least important incentives. On the other hand, in line with previous studies, ‘seeing specific artists perform’ and ‘uniqueness of the experience’, were pivotal. The latter was mostly fueled by the possibility to experience/interact with visuals and environments considered as unconceivable in the real world. Furthermore, 70% of our sample regarded VR concerts as ‘the future of the music industry’, mainly relating to the accessibility of such events. Positive evaluations of VR concert experiences, as well as future perspectives regarding the medium, were significantly influenced by the level of experienced immersivity. To our knowledge, this is the first study to provide such an account.

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Consumer specialization and the Romantic transformation of the British Grand Tour of Europe

Chai

2011

J Bioecon

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Abstract. This paper posits that significant changes in 19 th century British recreational travel patterns resulted from a change in the manner in which tourists used entertaining stimuli in order to attain pleasure. Consumers no longer merely viewed arousing stimuli, but attempted to use them to produce emotional states of being which they could partially modify to intensify pleasurable feelings (Damasio 2003). The impetus for this modification stemmed from an increasing awareness that emotional responses could be to some degree self-cultivated, as embodied in the Romantic ethos that become popular at the time via the emergence of the paperback novel and magazine industry (Campbell 1987). By learning how to manipulate and modify mental images in a way that may not necessarily correspond with objective reality, Romantic tourists learned to elicit pleasure through engaging of their imagination. Such a change in the mode of pleasure seeking had important long run economic consequences for tourist regions throughout the European continent.

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Simon's travel theorem and the demand for live music

Cited by 67 publications

References 13 publications

Live and prerecorded popular music consumption

Live and prerecorded popular music consumption

Concert experiences in virtual reality environments

Consumer specialization and the Romantic transformation of the British Grand Tour of Europe

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