The symbolic consumption of music

Larsen, Gretchen; Lawson, Rob; Todd, Sarah

doi:10.1080/0267257x.2010.481865

Cited by 60 publications

(54 citation statements)

References 47 publications

(53 reference statements)

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“…These unstructured interviews were conducted both on and off site, something that we will elaborate on shortly. All interview participants were within the 30-70 year-old age range, supporting observations from previous studies conducted within the classical music field (Larsen et al, 2010). Our analysis did not focus specifically on socioeconomic characteristics, which we argue are beyond the scope and objectives of our study.…”

Section: Methodssupporting

confidence: 49%

“…Allen, 2002;Arsel & Bean, 2013;Arsel & Thompson, 2011). Our study sheds light on the situational and contextual aspects of consumers' tastes (Larsen et al, 2010;Saatcioglu & Ozanne, 2013).…”

Section: The Past and Present Of The Bridgewater Hallmentioning

confidence: 99%

“…In this paper, we understand the field of classical music as a field that encompasses such music styles and genres as classical, chamber, opera, and symphony; that stand in diametrical opposition to popular music, and traditionally appeal to an older audience. In addition to this, as Larsen, Lawson and Todd (2010) point out, most studies on the socio-cultural aspects of other genres of music consumption focus solely on adolescents or younger adults and further underline the need to investigate the situational aspects that are linked with consumers' music tastes and preferences. A strand of cultural-oriented sociological research has investigated the interrelationships of music with space and place (e.g.…”

Section: The Field Of Classical Music Consumptionmentioning

confidence: 99%

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Marketplace orchestration of taste: insights from the Bridgewater Hall

Skandalis

Banister

Byrom

2016

Journal of Marketing Management

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The aim of this paper is to explore how a concert hall can orchestrate and shape individuals' classical music tastes. The paper is based on an eight-month ethnography at the Bridgewater Hall concert venue in Manchester. Our emergent findings illustrate how classical music tastes are influenced via the spatial meanings of the concert hall. These meanings include various physical, historical and socio-cultural aspects that are revealed in the context of the Bridgewater Hall. Our study contributes to various streams of consumer culture theory (CCT) research and opens up avenues for future research on the interrelationships of space and place with taste. Summary statement of contributionOur study focuses on spatial taste orchestration, and provides valuable insights for CCT research into taste and space and place. More specifically, we provide a phenomenological approach to the study of place that moves away from conventional approaches and captures the totality of the meanings captured in the concert hall. Our study also positions the concert hall as an emplaced taste regime that shapes attendees' classical music tastes and their consumption practices within the classical music field. Finally, we illustrate how particular places acquire significance within individuals' everyday lives in the context of classical music consumption. KeywordsClassical music, consumer culture theory, experiential consumption, place, taste, concert halls Word count: 8,031 (excluding references) Introduction'Identity is worked and power is wielded within the spaces of musical experience, and few who enter its rarified atmosphere exit unchanged'. (DeChaine, 2002, p. 91) This study explores the shaping qualities of the places of musical experience, along with their ability to orchestrate musical tastes. In particular, we explore the shaping of individuals' tastes in a concert hall setting within the field of classical music consumption.The logic of this paper broadly concerns an exploration of the interrelationships between space and place with taste. Both space and place and taste have been studied extensively across the humanities and social sciences. However, there is little empirical research that brings together these two theoretical constructs, and investigates how particular places tend to orchestrate and shape taste. Phenomenologically-oriented philosophical thought sees place as the primary basis of our experience with the world (cf. Creswell, 2004). Such philosophers have long argued for a revitalisation of the place construct in contemporary scientific thought.Consumer culture theory (CCT) research (cf. Arnould and Thompson, 2005) has illustrated the importance of space and place in a diversity of ways (e.g. Arnould, 2005; Debenedetti, Oppewal, & Arsel, 2014;Maclaran & Brown, 2005). We argue that connecting taste with place can provide novel insights for those fields of marketing theory and practice that deal with the socio-cultural aspects of consumption.We position our paper within the field of CCT research and bo...

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Section: Methodssupporting

confidence: 49%

Section: The Past and Present Of The Bridgewater Hallmentioning

confidence: 99%

Section: The Field Of Classical Music Consumptionmentioning

confidence: 99%

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Marketplace orchestration of taste: insights from the Bridgewater Hall

Skandalis

Banister

Byrom

2016

Journal of Marketing Management

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“…In that vein, it would be fruitful to further investigate the question of exactly how the brand is connected to music in consumers' everyday lives. Through the use of qualitative methods like those of DeNora (2000) both physical and symbolic consumer uses can be explored further (see also, for example, Hogg and Banister, 2000;Larsen et al, 2010, about consumers' symbolic use of music). The main challenge for practitioners, based on the present framework, is to claim sonic branding as truly strategic and at the same time rooted in the role of consumers in the ever-changing sonic construction of the brand's culture.…”

Section: Sonic Branding: Futurementioning

confidence: 99%

Sonic branding: A consumer-oriented literature review

Gustafsson

2015

J Brand Manag

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Because music holds a strong power over people, and its impact on consumers is relatively direct, it is invariably an interesting medium for marketers. Although Sonic Branding -branding with music and sound -has been seen as 'the next big thing' in branding toward consumers for about a decade, it is a scattered field still waiting for its breakthrough. Addressing this problem, the present consumer-oriented review of literature offers new insights on the consumer perspective's role in Sonic Branding today, and provides implications for future marketing research and practice. The present article also suggests that there is need for using a common set of Sonic Branding concepts in order to unify the field. Further, the majority of businesses do not yet understand Sonic Branding as the uniquely consumer-oriented practice it has the potential to be. Understanding the way that consumers themselves use music is crucial to successful brand management in this area. However, for theorists and practitioners alike, the immediate challenge lies in developing those concepts and labels for Sonic Branding that will unite the field, and thereby increase its future impact.

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“…Larsen et al (2010) further this linkage between self-identity and value in their examination of the symbolic consumption of music. So, whether viewed as a simple situation of music consumption or a more elongated process, value in the varied sense proposed by Holbrook (1999) can be observed in many ways.…”

mentioning

confidence: 99%

Sustainable touring: exploring value creation through social marketing

Henderson

2013

Arts Marketing: An International Journal

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Purpose – The purpose of this paper is to examine the social marketing-based approach to live performance adopted by Jack Johnson and its potential as the basis of a developmental model for sustainable touring. Design/methodology/approach – Musician Jack Johnson has been recognised as a leader in his approach to sustainable touring. The research approach uses stakeholder interviews to examine his “Sleep Through the Static” tour from a phenomenological perspective. Findings – The activities adopted during the global tour provide “upstream” contributions to social change agendas as well as “downstream” contributions to change behaviour. “Downstream” contribution leans towards closed behaviour settings for the corporate community and open behaviour settings for the social community. Limitations are the extent of resources required; better understanding of audience targets and their perceived value of behaviour change. Research limitations/implications – The use of a single example means that consideration of the success of this model is limited to one approach when others might offer other options. However, the phenomenological approach is sufficient to begin to understand the value creation process at work here. Practical implications – A range of performers in different cultural areas might consider the potential of this approach as a means to contribute to sustainable touring goals. Originality/value – Much of the literature available for event managers focuses on environmental concerns to the neglect of other dimensions of sustainability. This work highlights how the social marketing of sustainable development offers a wider scope to touring performers.

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The symbolic consumption of music

Cited by 60 publications

References 47 publications

Marketplace orchestration of taste: insights from the Bridgewater Hall

Marketplace orchestration of taste: insights from the Bridgewater Hall

Sonic branding: A consumer-oriented literature review

Sustainable touring: exploring value creation through social marketing

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