IS EXPERIENTIALISM SOLELY CONSUMPTION OR IS IT FORMED BY DEEPER INVOLVEMENT OF THE AUDIENCE?

Discussing and analysing individual and audience consumption through levels of involvement

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Is experientialism solely consumption or is it formed by deeper involvement Lisa Coppini of the audience? Is experientialism solely audience consumption of music, within a social context, or is it created through deeper involvement of the individuals within the audience? Music can be experienced in the form of music videos, concerts, live streaming online, by mp3 and much more. There is no clear definition of music as it differs according to varied criteria; the organisation, pleasantness, intent, social construction, perceptual processes and engagement, universal aspects or family resemblances, (Admin, 2011). All is well with experiencing the music but what makes the music experiential? [Music is the] communication and arousing of emotions, (Rouget, 1985). Music triggers a variance of emotions and meanings from different audiences and individuals, but what is the main driver that causes the sense of experientialism? Putting experientialism into context, there has been a consumer shift of their focus from product and service attributes to the experience obtained while using the product or service, (Hotcow Blog, 2011). Emphasis lies within the outcome of participating in a product or service: the experience. Music is the most appropriate art to use to apply the sense of experientialism, as it more commonly delivers intangible elements, which in turn, translate into experiences. Experientialism elicits a range of responses in an audience, (OReilly, 2010). It can also drive the audience to imagine they are part of the performance, (Hirschman and Holbrook, 1982). With this in mind, performances, live music and involvement of the audience, the X Factor can be applied to how experientialism is delivered in a musical context. Crozier (1997) claims that the performance of music is essentially a social experience, but music can have other connotations than just through a social context. Music can be enjoyed individually, among a small group of friends, or within a large audience, but can have variances of outcomes. The experience of music can develop the management of self-identity, mood and interpersonal relations (Hargreaves and North, 1997). Hargreaves and North, focus more on the individuals experience of music than within a social context. Self-Identity is the definition of self. It refers to the identification the individual defines themselves with relation to the identity of the composer of the music, (Hargreaves and North, 1999). Management of mood can relate to the identification of self. Mood can be optimised by the medium of music and in turn effect the identity of self. However, Radocy and Boyle (1996) depict how the types of emotion and mood expressed by music is dependent on the context it is experienced.

Is experientialism solely consumption or is it formed by deeper involvement Lisa Coppini of the audience? Regarding a more social environment, Hargreaves and North (1997), do highlight that music is the management of interpersonal relations. Management of interpersonal relations refer to establishment and maintenance of relationships. As expressed in the following theory, (Merriam 1964), the management of interpersonal relations is the conformity to social norms which in turn reflects the desire for acceptance within a social group. On summary of this model, it can be argued that management of self-identity and mood can reflect the outcome of how interpersonal relations are managed; if all elements are fulfilled when music is experienced. Furthermore, there are four functions of music that regard music as being consumed within a social environment, (Merriam 1964). These include the reinforcement of conformity to social norms, validation of social institutions and communities, the continuity and stability of a culture and the integration of a society. It cannot be ignored that the social context affects the way which music is absorbed but in this literature the emphasis lies within the individual consumption. Therefore these four functions of music can only be interpreted as the underpinning of individual consumption. Consumption of an experience can be expressed as hedonic consumption and brand consumption (Kerrigan, 2004). Hedonic consumption designates those facets of consumer behaviour that relate to the multi-sensory, fantasy and emotive aspects of ones experience with products, (Hirschman and Holbrook, 1982), in the context of fulfilling fantasies and satisfying emotions, (MarketingDictionary.com, 2009). However, many authors defy this and addresses how hedonic consumption is essentially about pleasure, (Charter, 2006, Lacher, 1989). With the application of hedonic consumption of the X factor, it can be suggested how the music performances fulfil basic consumption; the performances fulfil the fun aspect of the programme, evoking little involvement and consumption from the audience. Brand consumption is the intended meaning projected by the brands manager, in what is received and interpreted by the audience, (Kerrigan, 2004). Whatever persona the brand, the contestant, projects is what is consumed by the individual. Furthermore, it regards the artists interaction with the audience. Even though the brand is assumed as the artist, it can also be reflective of the brand; The X factor. The X factor interacts with the individuals within the audience in several ways. The most dominant is live voting. This can be interpreted by the individual as they are part of the creation of a music artist. This also links back to the support of experientialism being the drive for audiences to imagine they are part of the performance, (Hirschman and Holbrook, 1982), Experientialism as brand consumption

Is experientialism solely consumption or is it formed by deeper involvement Lisa Coppini of the audience? emphasises how experientialism lies within the involvement of the individual, but still provides undertones of the audiences consumption. In turn, this supports the Pine and Gilmore framework, (Petkus, 2004). The Pine and Gilmore framework, 1999, also implies how there is a further shift from service based marketing to experience based marketing. This lies parallel with the Hotcow Blog, 2011. The Pine and Gilmore framework outlines the transition that is undertaken by which a memorable experience is provided for consumers, (Petkus, 2004). The four realms that aid this transition are; entertainment, education, aesthetic and escapist, (see figure 1). As expressed in the diagram, the horizontal indicators display the extent of participation of the audience. The first section is entertainment; this requires passive participation meaning the art is solely absorbed requiring little involvement and stimulation of the art; reflecting the definition of hedonic consumption, (Charter, 2006, Lacher, 1989). This could be applied to individuals at home watching the X factor on television, or even those watching within the live audience. However, this may be dismissed by the level of interaction, the active participation, that the X factor offers; text voting, social media online comments, phone line voting and live question times. This level of active participation of the individual and absorption can be defined as educational; to truly inform a person and increase his knowledge and/or skills which engage the mind, (Pine and Gilmore, 1999). As discussed earlier, the X factor creates, in the eyes of the individuals within the audience, elements of creating a star. This can be defined as escapism. Although Pine and Gilmore outline that escapism can primarily be experienced through theme park rides, it can be reflected in the immersive environment of the X factor; Escapist experiences are not just about embarking from but voyaging to, for example the journey of creating the artist. With this in mind, the individual can take on a new role, much to the similarity of Simon Cowell, in the way of instructing the creation of an idol from the audition stages to the live final shows. The aesthetic environment outlines deep immersion for the individual themselves, yet they do not have a significant influence on the actual event; individuals immerse themselves in an event or environment but themselves have little or no effect on it, leaving the environment (but not themselves) essentially untouched, (Pine and Gilmore 1999). Pine and Gilmore express this in the terms of visiting a tourist location e.g. the Grand Canyon, visiting an art gallery or museum. However, the X factor offers participation in video ads, which require individuals to record a 10 second video of themselves singing and performing. This can be interpreted as

Is experientialism solely consumption or is it formed by deeper involvement Lisa Coppini of the audience? aesthetic, the aesthetic quality of an experience is the amount of concentration involved in the experience, (Leath, 1996). Although the paper (Leath, 1996), refers to concentration is of the organisation, this literature forms the notion that the concentration and involvement can actually be that of the individual, who forms the aesthetic quality of the art. In support of this, many believe the aesthetic value of an art can be established by its ability to produce vivid experiences in its audience, (Csikszentmihalyi, 1990). This can be applied to the video ads. The debate is in challenge of Crozier, (1997), who claims that the performance of music is essentially a social experience. Holbrook, (1982), defers this and states how music is appreciated internally as opposed to purely being viewing as an objective product. It is apparent that there is significant evidence to suggest experientialism, in terms of consumption, requires audience and individual involvement. Referring to Hargreaves and North, 1997, it is fair to state that the self-identity and mood outcome determines the strength of the interpersonal relations. For example, if an individual likes a particular X factor contestants performance, it is likely that the individual will conform to a group who also enjoyed that performance, (Merriam 1964). However, outlining the difference between individual and audience consumption there are significant differences. Audience consumption can be perceived as hedonic, the art is purely being absorbed. However, the individual consumption involves interaction with the art and the self, as demonstrated in Pine and Gilmores Four Realms framework, 1999. In regards to the X factor and Pine and Gilmores framework, it is discovered that the show endeavours to engage all types of individuals and audiences; the live show audience through the performance itself, the at-home audience with the video-ads, and the individual who interact through live question-time with the contestants. With regards to individual and audience consumption of the X factor, both forms of consumption work together in creating the experience; the sense of experientialism. DeNora, 1997, displays how music aids building life stories, whether individual or within a social context.

Is experientialism solely consumption or is it formed by deeper involvement Lisa Coppini of the audience?

References
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Music, 27 (1), 71-83. Available from: http://pom.sagepub.com/content/27/1/71 [Accessed 7 November 2011]. 71 OReilly, D. and Kerrigan, F, 2010. Marketing the arts: A fresh approach. Oxon: Routledge. Petkus Jr, E., 2004. Enhancing the application of experiential marketing in the arts. International Journal of Nonprofit and Voluntary Sector Marketing, 9 (1), 49-56. Available from: EBSCOhost [Accessed 12 November 2011]. Pine, B.J. and Gilmore, J.H, 1999. The Experience Economy: Work Is Theater and Every Business a Stage. Boston: Harvard Business School Press. Radocy, R.E. and Boyle, J, 1996. Psychological foundations of musical behaviour. Illinois: Charles C Thomas Publications Ltd. Rouget, G., 1985. Music and trance: a theory of relations between music and possession. Chicago: Gallimard.

Is experientialism solely consumption or is it formed by deeper involvement Lisa Coppini of the audience?

Appendices
Figure 1 Pine, B.J. and Gilmore, J.H, 1999. The Experience Economy: Work Is Theater and Every Business a Stage. Boston: Harvard Business School Press. (Page 30)