The Web 2.0 and the globalization impact on new consumer emergence and classification

Izvercian, Monica; Seran, Sabina Alina

doi:10.2991/icemss.2013.42

Cited by 8 publications

(10 citation statements)

References 7 publications

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“…Based on the interpretive and exploratory nature of the research area, (Grant et al, 2012;Qu and Dumay, 2011), it was decided to adopt a multi-stage interview-based research method. In terms of the nature of the population of interviewee candidates, this study -like most music industry studies -was not geographically limited due to the social and online reach of the global music industry (Chaney, 2012;Choi and Burnes, 2013;Gamble and Gilmore, 2013;Izvercian and Alina Seran, 2013;Power and Hallencreutz, 2007;Soriano et al, 2008;Warr and Goode, 2011). Therefore, candidates from around the world were considered suitable representatives for the study if they either held a senior management position in their organisation (the vast majority were either the company CEO or Director) or substantial relevant experience/knowledge in the field of the interview stage.…”

Section: Methodological Position and Designmentioning

confidence: 99%

A rewarding experience? Exploring how crowdfunding is affecting music industry business models

Gamble¹,

Brennan²,

McAdam³

2017

Journal of Business Research

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This paper provides an exploratory study of how rewards-based crowdfunding affects business model development for music industry artists, labels and live sector companies.The empirical methodology incorporated a qualitative, semi-structured, three-stage interview design with fifty seven senior executives from industry crowdfunding platforms and three stakeholder groups. The results and analysis cover new research ground and provide conceptual models to develop theoretical foundations for further research in this field. The findings indicate that the financial model benefits of crowdfunding for independent artists are dependent on fan base demographic variables relating to age group and genre due to sustained apprehension from younger audiences. Furthermore, major labels are now considering a more user-centric financial model as an innovation strategy, and the impact of crowdfunding on their marketing model may already be initiating its development in terms of creativity, strength and artist relations.

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Section: Methodological Position and Designmentioning

confidence: 99%

A rewarding experience? Exploring how crowdfunding is affecting music industry business models

Gamble¹,

Brennan²,

McAdam³

2017

Journal of Business Research

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show abstract

“…Regarding the population of interviewee candidates, this studylike many record industry studieswas not geographically restricted due to the social and online extent of the record industry globally (Chaney, 2012;Choi and Burnes, 2013;Gamble and Gilmore, 2013;Izvercian and Alina Seran, 2013). Consequently, candidates from potentially any country were deemed to be appropriate for the study if they either held an executive management position within their company or significant applicable understanding and/or expertise.…”

Section: Methodsmentioning

confidence: 99%

Marketing madness or financial folly?

Gamble

2019

European Journal of Marketing

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Purpose The purpose of this paper is to explore the implementation of equity crowdfunding (ECF) within the record industry in terms of challenges and opportunities, in addition to the marketing and financial implications for independent music artists and major record labels. Design/methodology/approach This study adopted a qualitative methodology consisting of two-stage interview-based research methods. A total of 44 semi-structured in-depth interviews were conducted with the CEOs of ECF platforms in the record industry, other related record industry informants, independent artist managers and senior executives from major record labels. Findings The loyalty aspect of ECF may have significant marketing potential in terms of inconspicuously using the equity platform as a “prosumer” identification mechanism. As this early career stage of artists is delicate in terms of establishing trust and patronage from their fans, these early marketing and ECF ventures should be implemented directly from the artist without external third-party involvement. Research limitations/implications The implications of this paper’s findings and theoretical model are not limited to the two studied stakeholder groups of the record industry. The insights in relation to the obstinate lack of understanding and clarity (particularly for independent artists) which surround ECF are likely to influence short-term strategic approaches by other players throughout the wider music industry. Practical implications The insights regarding negative approaches towards ECF by the labels may influence future “coopetition strategies” for independent labels, as they seek to navigate the changing industry dynamics. Originality/value This paper is the first study to empirically explore the predominantly under-researched area of ECF implementation in the record industry in terms of marketing and financial consequences for artists and labels.

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“…Taking into account the relevant literature regarding the concept and personal observations and arguments, we have proposed a new definition for prosumers as 1969 Prosumer engagement in innovation strategies individuals (consumers) that make a contribution (provide work to produce/create value) by being engaged in a process for one's own use or for the use of others (Izvercian and Seran, 2013). Thereby, prosumption is not just a concatenation between production and consumption because we need a certain level of engagement and creativity alongside the "producer" and "consumer" equation for creating a prosumer experience .…”

Section: The Prosumer Conceptmentioning

confidence: 99%

Prosumer engagement in innovation strategies

Seran

Izvercian

2014

Management Decision

Self Cite

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Purpose – The purpose of this paper is to develop a new enriched approach regarding the prosumer concept and a framework for efficient managerial decision, making use of prosumer innovative potential. Design/methodology/approach – Based on relevant literature sources, this paper takes the prosumer concept one step further from usual interpretations suggesting its innovative potential for companies which adequately address this issue. Depending on their own objectives, the domain limitations and the creativity they are allowing regarding specific activities or campaigns, companies can open up and develop prosumer co-creation strategies. Findings – The authors develop a new prosumer understanding of value co-creation and design prosumer-oriented marketing strategies as a starting point for important decision making and complex marketing campaign creation in an always changing environment. Originality/value – The research contributes to the existing knowledge on prosumerism, being at the same time valuable for managers, especially in the marketing domain. Marketing corporate specialists do not have guidelines on how to understand, relate and engage these new consumers in corporate activities and therefore loose a potential creative external partner and a significant competitive advantage.

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The Web 2.0 and the globalization impact on new consumer emergence and classification

Cited by 8 publications

References 7 publications

A rewarding experience? Exploring how crowdfunding is affecting music industry business models

A rewarding experience? Exploring how crowdfunding is affecting music industry business models

Marketing madness or financial folly?

Prosumer engagement in innovation strategies

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