2021
DOI: 10.1016/j.jdmm.2021.100567
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Social music festival brandscapes: A lexical analysis of music festival social conversations

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Cited by 14 publications
(6 citation statements)
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“…Despite a wealth of research, most of the articles examined festival experiences with questionnaires or other qualitative methods such as semi-structured interviews or observations. Social media as data source in music festival research is less common (see Brown et al, 2020;Carah & Angus, 2018;Danielsen & Kjus, 2019;de Lira et al, 2019;Gilstrap et al, 2021;Hudson & Hudson, 2013;Hudson et al, 2015;Strand & Robertson, 2020). The data was collected from the guest reviews section publicly available on the Sziget Festival Official Facebook page.…”
Section: Data Collectionmentioning
confidence: 99%
“…Despite a wealth of research, most of the articles examined festival experiences with questionnaires or other qualitative methods such as semi-structured interviews or observations. Social media as data source in music festival research is less common (see Brown et al, 2020;Carah & Angus, 2018;Danielsen & Kjus, 2019;de Lira et al, 2019;Gilstrap et al, 2021;Hudson & Hudson, 2013;Hudson et al, 2015;Strand & Robertson, 2020). The data was collected from the guest reviews section publicly available on the Sziget Festival Official Facebook page.…”
Section: Data Collectionmentioning
confidence: 99%
“…In the tourism setting, Yang et al (2022) revealed the relationships between WOV behaviors and CEIM, which consist of four subfactors, namely, attractiveness, distinction, expertise and trustworthiness, as well as close association with DEIM. Furthermore, the social music festival brandscape is a business model for sharing festival experiences, evaluating artist performances and even exchanging tickets (Gilstrap et al , 2021). Among the main themes are YouTube, track and stage.…”
Section: Research Model and Hypothesis Developmentmentioning
confidence: 99%
“…Esta tendencia está presente en áreas y campos muy dispares (Hafez, 2021;Creevey, Coughlan y O'Connor, 2022), pero tiene una gran fuerza en su aplicación a las industrias culturales, incluida la musical (Castro-Martínez, Pérez-Ordóñez y Torres-Martín, 2020; Gilstrap, Teggart, Cabodi, Hills y Price, 2021). Las redes sociales no solo influyen en las ventas (Dewan y Ramaprasad, 2014), sino que han entrado a formar parte del ecosistema musical a través de su potencial como plataformas para recomendaciones por parte de los prosumers (Tan, Bu, Chen, Xu, Wang y He, 2011;Kastner, 2020) y como elementos que intervienen en todas las fases del proceso, desde la producción al consumo musical, pasando por la distribución (Mjøs, 2011).…”
Section: La Industria Musical Y Las Redes Socialesunclassified