Abstract:
The Artist-Fan Engagement Model was developed to help explain the various factors present within the music artist-fan relationship. Its premise is based on the simple consumptive action of listening to an artist's music. The model contains two key constructs, the first being the individual's "Response To Artist," which is explained using an expanded construct of parasocial interaction theory (e.g., Identification, Affinity, Similarity, and Imitation). A second "Response To Music" variable is comprised of four different music responses (e.g., Emotional, Sensorial, Imaginal, and Analytical) key in hedonic consumption. The influence of these two variables on "Engagement" was assessed. This was followed by an examination of how "Engagement" influences "Recorded Music Access" (e.g., broadcast, unpaid downloads, free streaming) and "Recorded Music Ownership" (e.g., paid subscription, paid downloads, and physical products). The study's hypotheses and research questions were tested using an anonymous online survey. A total of 1,576 participants accessed the survey, with 940 respondents evaluating 806 individual song titles by 568 music artists. Structural Equation Modeling was the methodology used to analyze the collected survey data, which is in keeping with previous music oriented consumer behavior studies. Empirical support was not found for the Artist-Fan Engagement Model. However, within the sample data, strong positive correlations were found among the "Response To Artist" factors, which was consistent with previous studies. Strong correlations were also found between the "Response To Music" and the various listening responses. Both "Response To Artist" and "Response To Music" variables were positively related to "Engagement." This variable in turn had strong positive correlations to "Recorded Music Access" and "Recorded Music Ownership." Finally, the various relationships among the consumption outcomes related to "Recorded Music Access" and "Recorded Music Ownership" were evaluated. The dissertation concludes with a discussion of the implication of these various findings to music marketing activities, as well as the study's limitations and future research considerations. The scholarly contribution of this dissertation blends together a theoretical understanding of parasocial interaction theory and hedonic music consumption in an applied fashion working within the structural framework of the music industry.
