Online prosumer convergence: Listening, creating and sharing music on YouTube and TikTok
Article Sidebar
388)
Main Article Content
Authors
Abstract
545
Social media and prosumers have encouraged participatory creativity in the era of platformization. In this context, successful platforms such as YouTube and TikTok have facilitated users interact with music content in a wide variety of meaningful and evocative videos. In the light of research on the cultural prosumption of Internet content, as well as the global exchange of musical data, which is leading an emerging and innovative digital convergence, this study analyses the intersection between digital music and users through the Music Prosumer Questionnaire (MuPQ). This tool consists of three dimensions and 21 items based on (a) music preferences, (b) use of social media, and (c) music engagement. For this purpose, we collected the response of 698 users from Spain and Italy. The results showed that digital and visual music is essential to users’ life as a means of expression and relationship with other people. In particular, in their role as music curator, are more interested in “music watching” than in blind listening, which is related to mainstream music viewing dynamics. These findings provide new insights for understanding how music evolves according to the relationship between users and social media beyond technological progress.
Keywords
References
Abidin, C. (2021). Mapping Internet celebrity on TikTok: Exploring attention economies and visibility labours. Cultural Science, 12(1), 77-103. https://www.doi.org/10.5334/csci.140
Airoldi, M., Beraldo, D. & Gandini, A. (2015). Follow the algorithm: An exploratory investigation of music on YouTube. Poetic, 57, 1-13. https://www.doi.org/10.1016/j.poetic.2016.05.001
Airoldi, M. (2015). The techno-social reproduction of taste boundaries on digital platforms: The case of music on YouTube. Poetics. https://www.doi.org/10.1016/j.poetic.2021.101563
Álvarez-Cueva, P., Figueras-Maz, M. & Medina-Bravo, P. (2021). Evolución de la heteronormatividad a partir de una categorización de los estereotipos de género. Análisis de los videoclips musicales más populares. Profesional de la Información, 30(5). https://www.doi.org/10.3145/epi.2021.sep.01
Balleys, C., Millerand, F., Thoër, C. & Duque, N. (2020). Searching for oneself on YouTube: Teenage peer socialization and social recognition processes. Social Media + Society, 6(2), 1-11. https://www.doi.org/10.1177/2056305120909474
Bednarz, J. (2022). Who is a consumer in the digital era? Still a consumer or a prosumer? In M. Bartosik-Purgat & N. Filimn (Eds.), Implications of technology, media and culture on consumer behavior (pp. 24-40). London, UK: Routledge. https://doi.org/10.4324/9781003263685-4
Bennett, A. & Rogers, I. (2016). Popular music scenes and cultural memory. London, UK: Palgrave. https://doi.org/10.1057/978-1-137-40204-2
Bhandari, A. & Bimo, S. (2020). TikTok and the 'algorithmized self': A new model of online interaction. In The 21st Annual Conference of the Association of Internet Researchers (pp. 1-3). Brisbane, Australia: AoIR. https://doi.org/10.5210/spir.v2020i0.11172
Boffone, T. (2021). Renegades. Digital dance cultures from Dubsmash to TikTok. New York, NY: Oxford University Press. https://doi.org/10.1093/oso/9780197577677.001.0001
Business of Apps (2022). Most popular Apps. Business of Apps. Retrieved from https://bit.ly/3tYIou5
Cayari, C. (2011). The YouTube effect: How YouTube has provided new ways to consume, create, and share music. International Journal of Education & the Arts, 12(6), 1-28.
Cayari, C. (2017). Connecting music education and virtual performance practices from YouTube. Music Education Research, 20(3), 360-376. https://www.doi.org/10.1080/14613808.2017.1383374
Cervi, L., Tejedor, S. & Marín-Lladó, C. (2021). TikTok and the new language of political communication. Culture, Language & Representation, 26, 267-287. https://www.doi.org/10.6035/clr.5817
Chin, T. & Rickard, N. (2012). The Music USE (MUSE) Questionnaire: An instrument to measure engagement in music. Music Perception: An Interdisciplinary Journal, 29(4), 429-446. https://www.doi.org/10.1525/mp.2012.29.4.429
Copra, S., Ranjan, P., Malhota, A., Sahu, A., Dwivedi, S., Baitha, U., Goel, A. & Kumar, A. (2021). Development and validation of a questionnaire to evaluate the impact of COVID-19 on lifestyle-related behaviours: Eating habits, activity and sleep behaviour. Public Health Nutrition, 24(6), 1275-1290. https://www.doi.org/10.1017/S1368980020004656
Dalu-Maharso, R. (2021). Audio content curation in digital music streaming applications. Music recommendations in Spotify playlists. Proceedings of the Asia-Pacific research in Social Sciences and Humanities Univeersitas Indonesia Conference (APRISH 2019), 558, 201-207. https://www.doi.org/10.2991/assehr.k.210531.025
De-Kort, Y., Poels, W-A. & Poels, K. (2007). Digital games as social presence technology: Development of the Social Presence in Gaming Questionnaire (SPGQ). In 10th Annual International Workshop on Presence (pp. 1-9). Presence.
Edlom, J. (2022). The engagement imperative: Experiences of communication practitioners' brand work in the music industry. Media and Communication, 10(1), 66-76. https://www.doi.org/10.17645/mac.v9i4.4448
Etikan, I., Alkassim, R. & Abubakar, S. (2015). Comparision of snowball sampling and sequential sampling technique. Biometrics & Biostatistics International Journal, 3(1), 1-2. https://www.doi.org/10.15406/bbij.2015.03.00055
Fraser, T., Dale-Crooke, A. & Davidson, J-W. (2020). 'Music has no borders': An exploratory study of audience engagement with YouTube music broadcasts during COVID-19 lockdown, 2020. Frontiers in Psychology, 12, 1-17. https://www.doi.org/10.3389/fpsyg.2021.643893
Green, B. (2016). 'I always remember that moment': Peak music experiences as epiphanies. Sociology, 50(2), 333-348. https://www.doi.org/10.1177/0038038514565835
Green, J. & Burgess, J. (2020). YouTube: Online video and participatory culture. Malden, Cambridge: Polity Press.
Hamilton, C. (2019). Popular music, digital technologies and data analysis: New methods and questions. Convergence, 25(2), 225-240. https://www.doi.org/10.1177/1354856519831127
Hernández-Serrano, M. J., Renés-Arellano, P., Graham, G. & Greenhill, A. (2017). From prosumer to prodesigner: Participatory news consumption. Comunicar, 50, 77-88. https://www.doi.org/10.3916/C50-2017-07
Jami-Pour, M., Mohammadbagher-Jafari, S., Rashidi-Rad, M. & Taheri, G. (2022). Providing a framework for evaluating the quality of user-generated content in social media. Journal of Interdisciplinary Studies in Communication and Media, 17(17). https://www.doi.org/10.22034/jiscm.2022.327820.1347
Jaramillo-Dent, D., Vizcaíno-Verdú, A., de-Casas-Moreno, P. & Baldallo-González, C. (2020). Instagramming: Temas, tópicos y tendencias. Barcelona: Octaedro.
Kaye, D. B. V. (2022). Please duet this: Collaborative music making in lockdown on TikTok. Networking Knowledge, 15(1), 1-19.
Kennedy, M. (2020). 'If the rise of the TikTok dance and e-girl aesthetic has taught us anything, it's that teenage girls rule the Internet right now': TikTok celebrity, girls and the Coronavirus crisis. European Journal of Cultural Studies, 23(6), 1069-1076. https://www.doi.org/10.1177/1367549420945341
Kintsche, E., Le-Mével, L. & Berson, I. (2015). Development of the four-dimensional Motives for Listening to Music Questionnaire (MLMQ) and associations with health and social issues among adolescents. Psychology of Music, 44(2), 219-233. https://www.doi.org/10.1177/0305735614562635
Magaudda, P. (2021). Smartphones, streaming platforms, and the infrastructuring of digital music practices. In A. Hennion & C. Levaux (Eds.), Rethinking music through science and technology studies (pp. 12-15). Milton, UK: Routledge. https://doi.org/10.4324/9780429268830-17
Michalovich, A. & Hershkovitz, A. (2020). Assessing YouTube science news' credibility: The impact of web-search on the role of video, source, and user attributes. Public Understanding of Science, 29(4), 376-391. https://www.doi.org/10.1177/0963662520905466
Naveed, K., Watanabe, C. & Neittaanmäki, P. (2017). Co-evolution between streaming and live music leads a way to the sustainable growth of music industry - Lesson from the US experiences. Technology in Society, 50, 1-19. https://www.doi.org/10.1016/j.techsoc.2017.03.005
Nieborg, D. B. & Poell, T. (2018). The platformization of cultural production: Theorizing the contingent cultural commodity. New Media & Society, 20(11), 4275-4292. https://www.doi.org/10.1177/1461444818769694
Park, J., Park, J. & Park, J. (2018). The effects of user engagements for user and company generated videos on music sales: Empirical evidence from YouTube. Frontiers in Psychology, 9, 1-10. https://www.doi.org/10.3389/fpsyg.2018.01880
Pedrero-Esteban, L. M., Barrios-Rubio, A. & Medina-Ávila, V. (2019). Teenagers, smartphones and digital audio consumption in the age of Spotify. Comunicar, 60, 103-112. https://www.doi.org/10.3916/C60-2019-10
Prey, R., Del-Valle, M. E. & Zwerwer, L. (2020). Platform pop: Disentangling Spotify's intermediary role in the music industry. Information, Communication & Society, 1-19. https://www.doi.org/10.1080/1369118X.2020.1761859
Selva-Ruiz, D. & Fénix-Pina, D. (2021). Soundtrack music videos: The use of music videos as a tool for promoting films. Communication & Society, 34(3), 47-60. https://www.doi.org/10.15581/003.34.3.47-60
Shaheen, M., Pradhan, S. & Ranajee, R. (2019). Sampling in qualitative research. In M. Gupta, M. Shaheen & K. P. Reddy (Eds.), Qualitative techniques for workplace data analysis (pp. 25-51). Hershey: IGI Global. https://doi.org/10.4018/978-1-5225-5366-3.ch002
Shutsko, A. (2020). User-generated short video content in social media. A case study of TikTok. In G. Meiselwitz (Ed.), Social Computing and Social Media. Participation, user experience, consumer experience, and applications of social computing (pp. 108-125). Cham: Springer. https://doi.org/10.1007/978-3-030-49576-3_8
Smith, R. & Secoy, J. (2019). Exploring the music identity development of elementary education majors using ukulele and YouTube. Journal of Music Teacher Education, 29(1), 71-85. https://www.doi.org/10.1177/1057083719871026
Song, M. K. & Kim, Y. J. (2020). Speaking of your own repertoire: An investigation of music performance during practice. British Journal of Music Education, 37, 260-269. https://www.doi.org/10.1017/S026505172000008X
Statista. (2020). Most popular websites worldwide as of December 2020, by total visits. Statista. Retrieved from https://bit.ly/3ci6sP0
Szymkowiak, A., Kubala, B. & Antoniak, M. (2020). Music sales and artists' popularity on social media. International Journal of Marketing, Communication and New Media, 8(14), 70-96.
Tejedor-Calvo, S., Cervi, L., Robledo-Dioses, K. & Pulido-Rodríguez, C. (2022). Challenges of using TikTok as an educational platform: A multi-thematic network where humour overcomes debate. Aula Abierta, 51(2), 121-128. https://www.doi.org/10.17811/rifie.51.2.2022.121-128
Van Dijck, J., Poell, T. & de-Waal, M. (2018). The platform society: Public values in a connective world. Johanneshov: Oxford University Press. https://doi.org/10.1093/oso/9780190889760.001.0001
Vanstone, A. D., Wolf, M., Poon, T. & Cuddy, L. L. (2015). Measuring engagement with music: Development of an informant-report questionnaire. Aging & Mental Health, 20(5), 474-484. https://www.doi.org/10.1080/13607863.2015.1021750
Vázquez-Herrero, J., Negreira-Rey, M. C. & López-García, X. (2020). Let's dance the news! How the news media are adapting to the logic of TikTok. Journalism, 1-19. https://www.doi.org/10.1177/1464884920969092
Vizcaíno-Verdú, A., Aguaded, I. & Contreras-Pulido, P. (2021a). Understanding transmedia music on YouTube through Disney storytelling. Sustainability, 13(7), 3667. https://www.doi.org/10.3390/su13073667
Vizcaíno-Verdú, A., Contreras-Pulido, P. & Guzmán-Franco, M. D. (2021b). YouTube musicians and self-perceived multimedia, hipermedia, intertextual and transmedia competencies. Learning, Media and Technology, 46(4), 515-530. https://www.doi.org/10.1080/17439884.2021.1941099
Vizcaíno-Verdú, A. & Abidin, C. (2022). Music challenge memes on TikTok: Understanding in-group storytelling videos. International Journal of Communication, 16(26), 883-908. https://bit.ly/3EkoQVU
Vizcaíno-Verdú, A. & Aguaded, I. (2022). #ThisIsMeChallenge and music for empowerment of marginalized groups on TikTok. Media and Communication, 10(1), 157-172. https://www.doi.org/10.17645/mac.v10i1.4715
Wang, Y. (2020). Humor and camera view on mobile short-form video apps influence user experience and technology-adoption intent, and example of TikTok (DouYin). Computers in Human Behavior, 110, 1-9. https://www.doi.org/10.1016/j.chb.2020.106373
Zhang, Z. (2020). Infrastructuralization of TikTok: transformation, power relationships, and platformization of video entertainment in China. Media, Culture & Society, 43(2), 1-18. https://www.doi.org/10.1177/0163443720939452
Zhang, Q. & Negus, K. (2021). Stages, platforms, streams: The economies and industries of live music after digitalization. Popular Music and Society, 44(5), 539-557. https://www.doi.org/10.1080/03007766.2021.1921909
Zulli, D. & Zulli, D. J. (2020). Extending the Internet meme: Conceptualizing technological mimesis and imitation publics on the TikTok platform. New Media & Society, 24(8), 1872-1890. https://www.doi.org/10.1177/1461444820983603
Details
Article Details
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
RIGHTS TRANSFER
By submitting the article for evaluation and subsequent publication in Communication & Society, the AUTHOR exclusively assigns the rights of public communication, reproduction, distribution and sale for commercial exploitation to the University of Navarra through its Publications Service, for the maximum legal term in force -the entire life of the author and seventy years after his death or declaration of death-, in any country, and in any of the current and future edition modalities, both in print and electronic versions.
In the event that the article is not accepted for publication , this transfer of rights lapses with the communication of the refusal to the AUTHOR.
The AUTHOR affirms that the article is unpublished, that it has not been sent simultaneously to another publication medium and that the rights have not been transferred exclusively previously. He is responsible to the University of Navarra through its Publications Service for the authorship and originality of his work, as well as for all pecuniary charges that may arise for the University of Navarra through its Publications Service, in favor of third parties due to actions, claims or conflicts arising from the breach of obligations by the AUTHOR.
