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Traditional Scottish Music Events
Traditional Scottish Music Events
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Events form a key element of any destinations tourism product. There is a growing recognition of this
sectors value and economic role, resulting in it becoming an industry in its own right. Investigating attendee
motivations therefore becomes an increasing priority for event organizers and tourism organizations generally. Event organizers can improve the various components of their events through the understanding of
attendees motivations. The last decade has witnessed an increase in literature focusing on visitor motivations when attending events. However, there have been very few studies into visitor motivations when attending cultural events, particularly within the context of Scotland. Traditional Scottish music events are a
fundamental part of Scotlands culture. This, coupled with the identification of cultural tourism as having
very good prospects as a niche market for Scotland (www.scotexchange.net), further highlights the need
for such a study. Thus, the aim of this study is to examine visitor motivations when attending traditional
Scottish music events. Initially, a focus group was held to probe and discuss attendance motivations and to
investigate views on the linkages between such events and the Scottish tourism industry. A questionnaire,
comprising 15 motivational items represented on a 7-point Likert scale, was then distributed to members of
two traditional Scottish music associations. The resulting data (based on a total sample of 110 respondents)
were analyzed using the Statistical Package for Social Sciences (SPSS) software. A hierarchical cluster
analysis was carried out to identify groups of respondents with similar motivations when attending traditional Scottish music events. Key findings include a ranked list of visitor motivations and four discrete
groups resulting from the cluster analysis. These groups were identified and labeled according to their
dominant characteristics: Modernists, Family and Inspiration Seekers, Social Pleasure Seekers, and
Thrill Seekers. The article expands on these key results, focusing on a discussion of the dominant characteristics within each of the four cluster groups. The article also discusses respondents views on the linkages
between traditional Scottish music events and their role within the Scottish tourism product and cultural
tourism. The majority of respondents do believe there is an association between traditional Scottish music
events and Scottish tourism; however, debate emerges regarding the quality and range of events available to
visitors to Scotland. This exploratory study provides cultural music event organizers with a greater understanding of visitor motivations and characteristics within the context of Scotland by breaking the visitors
down into distinct motivational groups. This research adds to the body of literature in the area of visitor
motivations when attending events, specifically cultural and music events. This work also contributes to the
Address correspondence to Deirdre Mactaggart, Aberdeen Business School, Garthdee II, Garthdee Road, Aberdeen, AB10 7QG, UK. Tel:
01224 263010; Fax: 01224 263038; E-mail: d.mactaggart@rgu.ac.uk
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Introduction
The last decade has witnessed an increase in literature on the motivations for attending events (Bowen &
Daniels, 2005; Chang, 2005; Crompton & McKay,
1997; Kim, Ursal, & Chen, 2002; Lee, Lee, & Wicks,
2004; Nicholson, & Pearce, 2001; Scott, 1996; Uysal,
Gahan, & Martin, 1993). However, few studies have
focused on motivations to attend cultural events and
minimal research has been undertaken within the context of Scotland. Therefore, this article aims to unearth
the motivations of traditional Scottish music event attendees and the relationship between culture and the
Scottish tourism industry. Previous event motivation
literature has highlighted the understanding of event
attendees motivations as vital to event organizers and
marketers (Cha, McCleary, & Uysal, 1995; Lee et al.,
2004; Lee, Lee, Bernhard, & Yoon, 2006). By conducting this exploratory study, traditional Scottish music
event hosts will gain a better insight into why people
attend their events. A cluster analysis was undertaken
on visitor motivations to identify if any discrete groups
exist. These clusters will be presented and discussed
focusing on the core motivations and differing profiles
of attendees.
Following discussion of findings within the context
of previous literature, the authors make recommendations, both in relation to the industry (e.g., the ability
of promoters being able to cater for attendees needs
through a greater understanding of their motivations)
and in relation to research, such as the need to further
investigate the generic motivation of enjoyment.
Literature Review
The Growth and Value of Events as an
Industry Sector
Since the inception of the events management literature with Getzs seminal text in 1991, academic interest in this area has grown significantly (Bowdin, Allen,
OToole, Harris, & McDonnell, 2006; Bowdin,
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Table 1
Event Attendee Motivation Research
Researcher and Date
Type of Research
Chang (2005)
Bowen and Daniels (2005)
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Table 2
Current Development Initiatives in Traditional Scottish Music Industry
Development Initiative
Tune Up
Distil
Showcase Scotland
Traditional Music Tutor
Training Network
(TMTTN)
Description of Initiative
This annual touring program helps a dozen bands of different musical style (including traditional) to tour to audiences in
parts of Scotland they could otherwise not afford to reach.
A music laboratory that allows traditional musicians to develop their skills with top composers in a residential setting.
A weekend event at the Celtic Connections festival where the best of Scotlands talent is showcased to promoters from
around the world, resulting in more bookings for Scottish artists.
A development of a national database of traditional musicians that organizes training for tutors. Most recently an SQA
(Scottish Qualifications Authority) Certificate of Music Tuition has been validated to allow tutors to undertake training
in teaching.
Source: Scottish Arts Council Music Briefing 2002/2005 and Traditional Arts Briefing 2004/2005 (no longer available from their website).
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edge and experience. Professional relevance of the cluster analysis approach is evident in that the ability to
identify coherent groupings provides more realistic and
focused results, allowing marketers to adopt a more
targeted approach (Cha, McCleary, & Uysal, 1995;
Fredline & Faulkner, 2000; Lee et al., 2006).
A hierarchical cluster analysis was undertaken on the
15 motivational items (represented on a 7-point Likert
scale (1 = not at all important, 7 = extremely important),
using the Wards method of agglomeration and Squared
Euclidean Distances. This method is initially chosen to
produce a dendrogram from which the number of clusters present could be determined. Analysis of the dendrogram indicated that two-, four-, and five-cluster solutions could be used to interpret the results. The
five-cluster solution was chosen for further analysis due
to there being a better representative spread from the
five clusters. A one-way analysis of variance was undertaken and showed significant differences (p 0.001)
to exist between all five groups with regard to the 15
motivational statements, apart from Enjoyment, as
every group rated this highly as a motivation. Crosstabulations were then run between the five cluster
groups to gain a better insight of the cluster groups
characteristics. After further analysis, it was decided
the fifth cluster group was irrelevant for discussion in
this study due to the very poor response to the motivational questions that the cluster analysis was based upon.
This cluster only represented 5% of respondents and
only chose enjoyment as their main motivation for attending Traditional Scottish Music Events. Thus, the
cluster group was not informative and therefore all subsequent discussion is based on a four cluster solution.
Results
This particular section focuses purely on the results
of the research, followed by a section discussing the
results in relation to previous literature. The results from
the focus group are not included in the results section
as the purpose of the focus group was to inform the
design and specific questions in the questionnaire. The
details of which, were outlined in the methodology.
Therefore, this section will only focus on the key results from the questionnaire.
Response Rate and Respondent Demographics
The e-mail questionnaire to TMSA members provided
a low response rate of 25 (14%). SCAT provided a fur-
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Table 4
Mean Levels of Motivations for Attending Traditional
Scottish Music Events
Age Group
No. of Respondents
% of Total Respondents
1619
2029
3039
4049
5059
60 or over
2
4
18
33
37
15
1.8%
3.7%
16.5%
30.3%
33.9%
13.8%
Motivation
Enjoyment
Entertainment
Social interaction
Support Scottish music
Relaxation
Kinshipto be with like-minded people
Self-fulfillment
Excitement
Inspiration
Educational experience
See new bands
Escapism
Family togetherness
Nostalgia/reminisce
Support a family member
Mean
6.6
5.6
5.5
5.0
5.0
4.8
4.6
4.1
4.0
4.0
3.8
3.5
2.4
2.3
2.0
and Inspiration Seekers, was the most motivated cluster group, demonstrated by the fact they had the highest rating mean for many of the motivations. Their main
motivations were family togetherness, to support a family member, and inspiration. The overall means of these
three motivations were low for the sample; however,
this group rated these motivations highly. Family and
Inspiration Seekers had the biggest gender difference,
with 67% of the cluster represented by females and 33%
represented by males. The third cluster is entitled Social Pleasure Seekers. The most important motivations
for this cluster were enjoyment, social interaction, and
entertainment. All respondents within this cluster were
over the age of 30, and the majority believed that traditional Scottish music events are part of the Scottish tourism product. Sixty-nine percentof the cluster also believed they were experiencing the genuine culture of
Scotland at these events. The final cluster, Thrill Seekers, were greatly motivated by excitement and thrill,
as well as self-fulfillment. They are the most mature
cluster, with 88% of the cluster group over 40 years of
age. This cluster had the most respondents who believed
they were not experiencing the genuine culture of Scotland at traditional Scottish music events.
The Link of Traditional Scottish Music Events to
Scottish Tourism
A frequency test was run to discover what percentage of the sample thought traditional Scottish music
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Table 5
Cluster Analysis Based on Attendees Motivations
Cluster Group Name
Characteristics
1. Modernists: 41 (38%)
The whole cluster is over the age of 30; 69% believed they were
experiencing the genuine culture of Scotland at Traditional Scottish
Music Events; 18 of the 19 respondents in this group believed
Traditional Scottish Music Events to be part of the Scottish
tourism product
88% of cluster over 40 years of age; Had the most respondents who
thought they were not experiencing genuine culture at Traditional
Scottish Music Events
Table 6
Expanded Response Themes on the Scottish Tourism Product
Emerging Key Themes
Traditional Scottish
Music as a part of the
Scottish tourism
product
Traditional Scottish Music Events will benefit Scottish tourism if utilized properly
People already come from far and wide for Traditional Scottish Music festivals and events
A feeling of resentment towards what is currently on offer; one respondent referred to it as Tartan Trash
There is a need for better promotion of Traditional Scottish Music Events to tourists
Traditional Scottish Music is associated with Scotlands culture so should therefore be on offer to tourists
Frequency
4
5
11
5
6
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of events they considered to be authentic, from renowned events such as Celtic Connections, to local festivals and concerts. It is vital for organizations such as
the Scottish Arts Council, VisitScotland, and TMSA to
recognize the events that the native people of Scotland consider to be authentic. If organizations recognize this they can market the right events to tourists
who are looking for the authentic experience (an experience the cultural tourist is currently seeking).
Despite the improvements that are being made by
VisitScotland and the Scottish Arts Council, it is still
important for them to consider the views of those who
attend these events frequently. A suggestion would be
for organizations such as The Traditional Song and
Music Association of Scotland to produce a guide of
traditional Scottish music events.
A valuable extension to this study might be to carry
out a similar analysis, using cluster analysis of traditional music event attendees, but extending the geographical sample to reflect several communities across
Scotland. In terms of more specific research recommendations, from previous research it was evident that
Enjoyment is referred to as a specific element of an
event. Further research should be more explicit in determining whether attendees are motivated for example
to enjoy the music or to enjoy the dancing.
A suggestion for the result of low family motivations in this study was the higher average age of respondents. A suggestion for future research would be
to gain a comparative analysis between who attendees
attend events with, whether it is friends, family or with
a partner. The authors acknowledge that event experience authenticity has only been mentioned briefly on
within this article, and would therefore recommend
more in-depth research within this area in the future.
Lastly, in future research, the term genuine culture
must be used with caution, as this study proved respondents find the term difficult to determine.
This exploratory study has given an insight into the
motivations of traditional Scottish music event attendees and the links between culture and the Scottish tourism industry. Further research would benefit the industry enormously. Scotland as a nation has realized the
benefits of the events industry through initiatives such
as the formation of EventScotland. They have recognized the advantages of utilizing its cultural assets for
purposes of tourism at home and abroad, as traditional
Scottish music is a vital part of the culture of the country. As one respondent put it, If properly presented
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