Social streaming? Navigating music as personal and social

Hagen, Anja Nylund; Lüders, Marika

doi:10.1177/1354856516673298

Cited by 57 publications

(55 citation statements)

References 29 publications

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“…] [They ensure] that advertisements can be delivered to particular groups of users at particular points in time" (p. 137). Playlists can also operate as means of self-performance, building culture, expressing political opinions, forming social relations, and fostering certain kind of (govern)mentality (Dhaenens and Burgess, 2018;Gorzelany-Mostak, 2015;Hagen & Lüders, 2017;Johansson et al, 2017).…”

Section: Theorizing Playlists As Genresmentioning

confidence: 99%

Genres as Social Affect: Cultivating Moods and Emotions through Playlists on Spotify

Siles

Segura-Castillo

Sancho

et al. 2019

Social Media + Society

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Gabriela" is a 21-year-old sound engineer based in San José, Costa Rica. Music occupies a good part of her day, both for professional and personal reasons. In 2014, she created her own account on Spotify. Although she also uses a wide range of social media platforms, Spotify is, by her own admission, the only app that she is willing to pay for. During an interview we conducted for this project, "Gabriela" was hard pressed to find something she did not like about the platform. She discussed extensively what made the service so appealing to her. The following quote summarizes what she mainly uses Spotify for: I made a playlist that was called "Nostalgic Jams," which is a playlist that is simply like nostalgic vibes. I made a little cover for it and it is a playlist similar to R&B [rhythm and blues], but slow and nostalgic. For me, that's like a genre or subgenre that I have to conceptualize, which I named and made public. "Gabriela's" comments provide us with an opportunity to present four issues discussed in this article. First, we elaborate on how music "is a cultural form that has strong connections to emotions, feelings, and moods: the domain of affect" (Hesmondhalgh, 2013, p. 11). Specifically, this article discusses how users turn to Spotify as a means to cultivate moods and emotions. The notion of cultivation stresses the dynamic and ritual work involved in producing, capturing, and exploring moods and emotions. It is also meant to stress how music and affect mutually constitute each other (DeNora, 2000). Second, "Gabriela" reveals the centrality of playlists in how users experience music streaming services nowadays. On its support website, Spotify (2019) promotes playlists as "collection[s] of music. You can make them for yourself, you can share them, and you can enjoy the millions of other playlists created by Spotify, artists, and fans." Dias, Gonçalves, and Fonseca (2017) define playlists as "ordered sequence[s] of songs meant to be listened to as a group" (p. 14379). We show that creating playlists requires a set of practices and technologies to materialize affect into an artifact and thus cultivate moods and emotions (Orlikowski, 2007).

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Section: Theorizing Playlists As Genresmentioning

confidence: 99%

Genres as Social Affect: Cultivating Moods and Emotions through Playlists on Spotify

Siles

Segura-Castillo

Sancho

et al. 2019

Social Media + Society

View full text Add to dashboard Cite

show abstract

“…Furthermore, as the consumption of digital content can be both a personal and a communal experience (Jones, ), the social dimension of value can manifest itself in various ways—for example, through connecting with others who have similar (or different) content preferences. To this end, digital content services that employ the freemium model have incorporated social features (Hagen & Lüders, ) that enable users to share their content with others. In addition, integration with social networking sites is a common approach for incorporating a social element into digital content services (Mäntymäki & Islam, ).…”

Section: Introductionmentioning

confidence: 99%

What drives subscribing to premium in freemium services? A consumer value‐based view of differences between upgrading to and staying with premium

Mäntymäki

Islam

Benbasat

2019

Information Systems Journal

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Fostering the conversion of free users to premium subscribers and retaining those premium users are critical objectives for freemium service providers. Building on consumer value theory, we empirically examine the differences between basic and premium users in terms of the emotional, functional, social, epistemic, and economic values driving basic users' decisions to upgrade to premium subscriptions and premium users' decisions to retain their paid subscriptions. We employ enjoyment, intrusiveness of advertising in the free subscription, ubiquity, social connectivity, the discovery of new content, and the price value of the premium subscription as drivers of intentions and test our model using data from a leading digital content service that employs the freemium model. Our results show that enjoyment and price value of the premium subscription predict the intention to upgrade to premium, whereas the intention to retain the premium subscription is driven by ubiquity and the discovery of new content. Interestingly, social connectivity has no effect on the intention to upgrade but does have a small negative effect on the intention to retain the premium subscription. Contrary to our expectations, intrusiveness of advertising in the free subscription had a negative effect on the price value of the premium subscription. Collectively, our results imply that the intention to retain the premium subscription is influenced by attribute‐level value perceptions such as ubiquity, the discovery of new content, and social connectivity whereas the intention to upgrade is driven by benefits, ie, enjoyment and price value of the premium subscription.

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“…As for the use of music streaming services for social activity, we can conclude that the more a service operates as a social network (e.g., Facebook), the greater the potential for it to be used for social activity. As mentioned in the previous studies, streaming services allow listeners to create and manage their own playlists and to share them with their friends (Hagen & Lüders, 2016;Nguyen et al, 2014;Snelson, 2011). This, in practice, makes the services more socially oriented.…”

Section: Discussionmentioning

confidence: 99%

Usage Habits in Music Streaming Applications and Their Influence on Privacy Related Issues [Research in Progress]

Weinberger¹,

Bouhnik²

2019

InSITE Conference

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Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In a later stage, we intend to test privacy related issues in music streaming applications and the factors that influence privacy concerns when using these services. Methodology: This is examined by using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage includes semi-structured interviews with 10 music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g. change in classification methods and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 200-250 users of music streaming applications, aiming to explore personal information management issues and privacy related issues that emerge while using these applications (e.g. privacy concerns). Currently, a pilot of the qualitative stage was issued. Findings: We found that users still rely on traditional methods of personal information management, rather than making use of the newer features available by the innovative music streaming applications. The same applies to the use of these applications as part of a social activity. In addition, it seems that the emergence of music streaming applications influenced the sense of ownership over songs in personal music libraries and made it ambiguous among music consumers. Contribution: As far as we know, this is the first academic research to investigate the issue of personal music management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications.

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Social streaming? Navigating music as personal and social

Cited by 57 publications

References 29 publications

Genres as Social Affect: Cultivating Moods and Emotions through Playlists on Spotify

Genres as Social Affect: Cultivating Moods and Emotions through Playlists on Spotify

What drives subscribing to premium in freemium services? A consumer value‐based view of differences between upgrading to and staying with premium

Usage Habits in Music Streaming Applications and Their Influence on Privacy Related Issues [Research in Progress]

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