the market for music: millennials willingness to pay … richard august 2017 thesis.… ·...

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THEMARKETFORMUSIC:MILLENNIALSWILLINGNESSTOPAYFORHOSTELS

OFFERINGMUSICVENUES

by

RICHARDEDWARDBERGMANJR.

HonorsThesis

AppalachianStateUniversity

SubmittedtotheCollegeofBusiness

inpartialfulfillmentoftherequirementsforthedegreeof

BachelorofScienceinBusinessAdministration

May2017

Approvedby:

CarolKline,Ph.D.,ThesisDirector

JanaJames,Ph.D.,SecondReader

DawnMedlin,Ph.D.,CollegeofBusinessHonorsDirector

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ABSTRACT

THEMARKETFORMUSIC:MILLENNIALSWILLINGNESSTOPAYFORHOSTELS

OFFERINGMUSICVENUES

RichardE.BergmanJr.,B.S.B.A.,AppalachianStateUniversity

CarolS.Kline,Ph.D.,AppalachianStateUniversity

Theobjectiveofthisstudyistodeterminemarketdemandamong18-29year

oldsforamusichosteltourismpackage.Furthermore,determininghoweach

respondentfitswithinsocialworldstheorycategorizationlendsunderstandingtohow

musiccommunitiesinteract.BasedonaframeworkofSocialWorldsTheory,asurvey

wasdevelopedtoascertainthedemographicsandpsychographicsofthetarget

populationaswellastheirwillingnesstopayfortheproposedtourismpackage.

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TABLEOFCONTENTS

Abstract..........................................................................................................................................................iiIntroduction.................................................................................................................................................1LiteratureReview......................................................................................................................................1MusicTourism,MusicCommunities,andSocialWorldsTheory..........................................1HealthBenefitsofMusicandSeriousLeisure...............................................................................8MillennialMusicTravellers...................................................................................................................9DevelopmentandPerceptionsofHostels.....................................................................................11SocialNetworkingandMusic.............................................................................................................14MusicPerformanceandVenuePerceptions................................................................................16ResearchQuestions.................................................................................................................................18ResearchMethodology..........................................................................................................................18SurveyDesign...........................................................................................................................................18StudyParticipants...................................................................................................................................19DataCollectionandAnalysis...............................................................................................................20Results..........................................................................................................................................................21DescriptiveResults.................................................................................................................................21SocialWorldsTheoryCategorizationforParticipants............................................................30TestResults................................................................................................................................................32Discussion...................................................................................................................................................45ImplicationsforHosteliers..................................................................................................................45ImplicationsforAcademia...................................................................................................................46Limitations..................................................................................................................................................48FurtherResearch.....................................................................................................................................48Conclusion...................................................................................................................................................49References..................................................................................................................................................50AppendixA.................................................................................................................................................56AppendixB.................................................................................................................................................57

INTRODUCTION

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Musicvenuesorspaces,suchaspubs,stadiums,orauditoriumscanhelpfoster

friendshipamongpeopleandcreatemusiccommunities.Thesespacescancultivate

creativityandasharedcultureamongthepatronswhoattendtheperformances.While

localresidentscertainlyattendmusiceventsintheirhomeregion,“musictourism”isa

thrivingnicheintourism;muchofthepopulationatagivenconcertislikelytobe

tourists(Gibson,2005).Touristsrequireaccommodation,transportation,and

nourishmentasbasicneedswhentraveling,however,theinterrelationshipbetweena

tourist’saccommodation,entertainment,andcommunityhasyettobedistinguishedin

amusictourismsetting.Thisstudyseekstoexploretheparametersregardinganew

businessconceptwithtourismandleisureimplications.Specifically,thepurposeisto

assessthemarketdemandforhostelaccommodationwithanassociatedmusicvenueas

partofatourismexperiencepackage.Researchquestionsexplorethepsychographics,

demographics,andtravelbehaviorofmillennials,born1982-2000(USCensusBureau,

2015),interestedinaproposedmusicvenue-hosteltourismpackage.SocialWorlds

Theoryisusedasafoundationtothisstudy.

MusicTourism,MusicCommunities,andSocialWorldsTheory

Musictourism,andtoalargerdegreeculturaltourism,hasbecomeamajor

growthmarketforcitiesandgovernmentsthatwanttodiversifytheireconomyand

expandrevenue(Gibson,2005).Thisnicheformoftourismbeganwithafocuson

classicalmusicbuthassinceexpandedtoallgenresandhasmanyeconomic

implications.AccordingtoSkift,atravelresearchandmediafirm,theUnitedKingdom

(UK)generates$3.5billioninrevenuefrommusictourismeveryyear-including$2

billionfromtickets,transportation,andaccommodationsales(Ali,2013).Music

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tourism,accordingtoGibsonandConnell,“constitutesaclusterofpossibletourists,

activities,locations,attractions,workers,andeventswhichutilizemusicalresourcesfor

touristpurposes”(2005,p.16).Thesetouristsareoftendrivenbynostalgia,longingto

reliveacertainculturalexperienceorhearmusicthattheyhavegrowntoadore

(Gibson,2005).

Anearlyexampleusingmusictoincitetourismistheuseofrecordedmusicto

“take”peopletofaroffplacesinthemid-20thcentury.This“virtualtourism”could

producethesensesonemightfeelfrombeinginanotherplaceevenwheninternational

travelwasrareandreservedfortheelite,forexamplevinylLPscontainedorchestral

worksthatwouldvividlyrepresentplaceslikeParisorHawaii(Gibson,2005).

Anthropologistshavearguedthatmusiccancreatethis“senseofplace”whichleads

peopletotravelfurtherdistancestoexperiencemusicandotherformsofculture

(Campbell,2011).Majorcitieshelpedfueltheriseofuniquemusicalplaces,often

definingthembymusicgenre.Campbell(2011)recognizedthedirectlinkbetween

willingnesstotraveltoexperiencelivemusicandtheamountofimprovisationinit;for

example,artiststhatfitintothegenresofjazz,bluesorjambandsaresomeofthose

highlysoughtafterbymusictourists.Musichasanabilitytomorphenvironmentsand

createbelonging,andinadditiontoothercarefullychosenelementshelpsestablisha

“senseofplace”forlocalsandtouristsalike(Campbell,2011).Lately,thefirstMusic

TouristSummitwashostedinGlasgow,whichaimstodevelopmorestrategicplanning

betweenmusicandtourismbusinesses(Musictourist.net,2016).

Thedevelopmentofmusictourismasanichemarketisfurtherfueledbyan

increaseincreativetourismexperiencesaroundpeople,process,product,and

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environment(Richards,2011).Inadditiontothedevelopmentoftheexperience

economy,asnotedbyPineandGilmore(1999),tourismjobsandtravelershave

increasedexponentiallywithdecreasesinmanufacturingjobsandafocusonguest

experience.Creativetourism,ontheheelsofculturaltourism,hasdiversifiedthe

tourismlandscape,recognizingtheinterrelationshipbetweencultureandcreativityand

promptingincreasedcompetitionamongtourismproviderstodevelopless

conventionalproducts(Richards,2011;Stamboulis,2003).IntheSkiftreport,only6%

ofmusictouristsintheUKwerefromoutofthecountrybuttheyaccountedfor20%of

the$3.5billiondollarsofannualrevenuelinkedtomusictourism(Ali,2013).

Additionally,moreprominentmusicfestivals(e.g.theReadingfestivalinReading,

UnitedKingdom)bringinaround$24milliontotheeconomywithanestimated$160

beingspentinthelocaleconomybyeachofthe90,000attendees(Vashisht,2015).

Gibson(2005)notedthatbackpackers“fillaparticularnicheofmusictourists,”(p.99).

Thisisduetothetypicalgenrestheylistento,suchaselectronicdancemusic,andtheir

propensitytoreceiveinformationthrough‘wordofmouth’localnetworks(Gibson,

2005).Forthepurposeofthisstudy,wewilldefinebackpackersasindependent

travelers,oftenwithabackpack,whoutilizebudgetaccommodationssuchashostels.

Markward(2011)explainshowbackpackers’affinitytowardslocalpeopleandculture

drivestheirtravelandspendingchoices.Whatlocalslistento,eventstheyattend,and

placestheywanttotraveldirectlyinfluencemanybackpackers(Markward,2011).

Thesenetworksarethebasisbywhichcommunitiesshareexperiencethroughcultural

andmusictourism.

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Musictourismandtheideaofin-housemusicianstoconnectwithguestshas

recentlybeenembracedbyinternationallodgingconglomerateMarriott(2015).Their

agreementwithUniversalMusicGrouprepresentsamovetowardsbringingguest

experienceson-site,whichincreaseguestsatisfactionandrevenuesofadditionalitems

likebeverages.InadditiontoaddingmusicconcertstotheactivitiesMarriottofferson

property,“guestscandownloadmusicfromachoiceofmorethan5,000songsfromthe

UniversalMusicGroupCatalogthattheycankeepontheirdevicespermanently,”

(Marriott,2015,para.3).Theconnectionmadewithoneoftheseofferedsongsmay

encouragefurthermusictourismorapurchaseofmerchandise.MarriottContentStudio

isamediaservicebyMarriottwhichcreatesTVshows,webisodes,andshortfilms,one

ofwhichgivesguests,“alookatacitythroughtheeyesoftouringmusicians”(Eng,

2016).Marriottisnottheonlyhotelcompanycombininglodgingandmusic.Aloft

Hotelshaverecentlybeguninitiativesrangingfromsponsorshipofthe“Liveinthe

Vineyard”musicfestivalinCaliforniatoofferingconcertswithlocalartistsintheirhotel

communalspaces(Carmo,2015).Carmo(2015)foundthatmanyhotelsthatdidnot

offerlivemusictraditionallywereatleastofferingitonspecialoccasionstoattract

moremillennials.Throughtheseexperiences,theguestcancreateaconnectionwith

music,whichismutuallybeneficialtothetourist,destination,andindustry.

OnewayofviewingmusictourismisthroughthelensofSocialWorldsTheory.

Affinitytowardsmusic,inandofitself,isavoluntaryassociation(AraiandPedlar,

2003).Voluntaryassociations,“provideaforumforcommunitiesofcelebrationthat

maybefocusedonvolunteer,amateur,andhobbyistpursuits,”(AraiandPedlar,2003,

p.8).Musiccanbeexpressedinvariousformsatanygiventime,whether:played,

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recorded,listenedto,orotherwise.Amusicianidentifieswithothermusicianswhilea

‘musiclover’orafanofaspecificartistmayidentifywithpeopleofthesamemindset.

Voluntaryassociationscreateenvironmentswherepeoplecancollectivelyengagein

focalpractices,whichunitepeoplethroughappreciationofthatobject(AraiandPedlar,

2003).Thewaysthatpeopleexpresstheirmusical‘taste’andthegenresthat

encompassthemformthisappreciation,andthefoundationsofmusiccommunities.

Jazz,Folk,andRockasnotedbyFinnegan(2007)containdistinctcommunities,

differentiatedmostoftenbytheirhereditarybackgrounds.Shelemay(2011)ultimately

definesamusiccommunityas“asocialentity,anoutcomeofacombinationofsocial

andmusicalprocesses,renderingthosewhoparticipateinmakingorlisteningtomusic

awareofaconnectionamongthemselves”(p.17).Thisdefinitionrecognizesthata

musiccommunitytakesavarietyoffactorstoform,fromthevisual,musical,and

intellectualpropertiesofmusicanditsculturalidentityandunderstandingamonga

groupofpeople(Shelemay,2011).Thatbeingsaid,professionalsandamateursalike

canbemembersofthesecommunitieswhilereceivingdifferentbenefits.Friendship

andbeingapartofacommunityaretwobenefitsseenbymembersofCarolinaShag

dancecommunitiesaccordingtoBrown,McGuireandVoelkl(2008).Stebbins(1996)

foundpersonalenrichment,fun,andself-actualizationtobethemostrewardingaspects

ofsingingforBarbershophobbyists.Awardrecognition,timeinvested,andpercentage

ofincomeearnedthroughtheirpursuitareaspectsusedtoidentifyprofessionalsfrom

amateurs(Stebbins,1996).Crossley,McAndrew,andWiddopdescribedhowjazz

enthusiastswouldoftenbondandconnectovertheirsharedadmirationofjazzmusicat

localjazzclubs(2014).

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Patrons’involvementinacommunityandtheirabilitytoaddknowledgetoit

mayalsobeattributedtoonespursuitofseriousleisure(Stebbins,1982).Serious

leisureisatheoryarticulatedbyStebbins(1982)thatidentifiespursuitsofamateur,

hobbyist,orvolunteeractivitiesthatarefulfillingandimportanttoaperson,somuchso

thattheyroutinelyparticipateintheseactivitiesandgainaknowledgeandpassionfor

it.Whetherlisteningorplayingmusic,leisureincommunitiesofcelebration,suchasa

concert,createsharedmeaningamongguests(AraiandPedlar,2003).Thenecessityto

perseverewhilepartakinginaleisureactivityandthepossibilityofcareeraspirations

arealsoaspectsofseriousleisure.Amateurmusiciansandemergingactshavea

particularlyhighneedtocreatenetworks,furtherfuelingcommunities.Amateurismis

unique,asStebbins(1996)pointsout,“itengendersinthepractitioneradesireto

engageintheactivitybeyondthetimeandmoneyavailableforit,”(p.75).Richards

(2011)prescribesthatmanyoftheseamateursorpart-timeworkershavebeen

“sustainedbyabeliefinthe’onehitwonder’whichwilldeliverrichesandfame”(p.

1229).Seriousleisureconceptualizescareersofinvolvement,asBrown,McGuireand

Voelkl(2008)explain“throughsuccessivestagesofbeginning,development,

establishment,maintenance,anddeclineofspecialskillsandknowledge”(p.3).While

notallamateursachievefameorfortunethroughmusic,networkcommunitiesincrease

participationandencouragegrowthwithinanindividual’sdiscipline.OpenMicNights

areahotspotforamateurmusicianstogainexperience,trynewpieces,andnetwork

withothermusicians(Edensor,Hepburn,andRichards,2014).Finnegan(2007,p.281)

notesthat“artisticsatisfaction,self-esteem,sociability,ortheadmirationofothers,”

wereallmotivatorsforamateurmusiciansintheEnglishtownofMiltonKeyes.

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Complementingaspectsofseriousleisure,SocialWorldsTheoryhelpsexplain

thesharedmeaningsexperiencedbythepeopleinvolvedinacommunity.Thesesocial

worldsemergewhen“thosewithsharedperspectivesonthephenomenoninteractwith

oneanotheraboutthephenomenon”(Ritzer,2004p.768).SocialWorldsTheory

classifies‘subworlds’whichhelpplacememberswithintheSocialWorldsrealm.The

categoriesofStrangers,Tourists,Regulars,andInsidersdefinethewaysinwhich

membersofthecommunityinteract(Ritzer,2004).Memberscanbeplacedwithinthe

fourcategoriesbasedonthecharacteristicsoforientation,experiences,relationships,

andcommitment(Ditton,Loomis,andChoi,1992).Musiciansandmusicenthusiasts

comefromalldifferentbackgrounds,styles,andgenres,andthiscultivatesalearning

environmentofsharedgrowth.SocialWorldsTheoryallowsnewrecreationsubworlds

toemergeasmembersbecomemorespecializedwithinagivenSocialWorld.Early

examplesofsocialandsubworldsinAmericanmusiccanbeseeninthedevelopmentof

Jazz,Classical,andBarbershopmusic(Stebbins,1996).

Inadditiontosubworldsegments,theconceptsofcommitmentandinvolvement

arealsoaspectsofSocialWorldsTheory(Ditton,LoomisandChoi,1992).SocialWorlds

Theorydescribesthewaysinwhich‘actors’interactwithoneanotherinrelationto

theirperceivedexistenceinasubworld.Involvementhasbeendesignatedfour

components:voluntaryinvolvement,partialinvolvement,multipleidentification,and

mediatedinteraction(Ditton,LoomisandChoi,1992).Theselevelsofinvolvementcan

beusedtocategorizethedifferentrolesSocialWorldactorsplayinagivenworld.

Segmentationofsubworldscreatesmorespecificcommunitiesbasedonspatial,

objects,technology,ideology,intersections,andrecruitment(Ditton,LoomisandChoi,

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1992).Aspeoplebecomemoresophisticatedbasedontheseelements,moresubworlds

mayemerge.InJazzsubworldsforexample,Stebbins(1996)explainshowthereexists

acompositionof,“numerousoverlappingsetsofpersonalnetworksandworkingbands

organizedaroundfull-andpart-timeperformingopportunitiesofacasualorsteady

nature,realizedinsuchplacesasbars,parks,restaurants,andconcerthalls,”(p.14).

Ditton,Loomis,andChoi(1992)definedacontinuumfromtheleastspecialized

subworld(Strangers)tothemostspecializedsubworld(Insiders)andhowrecreation

specializationfacilitatesthesecommunities.Commitmenttoaparticularsocialworld

andsubworld,asdescribedbyDitton,LoomisandChoi(1992),reliesonconsistent

behavior,sidebets,andan“attachmenttothegoalsandvaluesofarole,activityor

organization”(p.39).BeyondthesocialbenefitsthatSocialWorldsTheoryextols,there

areconsiderableindividualhealthadvantagestobeconsideredbywayofthe

enjoymentofmusic.

HealthBenefitsofMusicandSeriousLeisure

Musicasatherapeuticsourcehasbeenwellresearchedsincethepublicationof

thebookMusicandMedicinebyeditorsDorothyMSchullianandMaxSchoenin1948

(CliftandHancox,2001).Listeningtomusicisknowntorelievestressandpromotea

healthywork-lifebalance.(Larsen,Larsen,Larsen,Im,Moursi,&Nonken,2012).Chen,

PrebensenandHuan(2008)notedhowresortguestsarelikelytoreadmagazines,

listentomusic,orwatchtelevisioninadditiontousingspafacilitiesforwellness

purposes.Doctorsandnursesfoundthatmusiccanhaveaneffectinhealingand

prevention,andsomeclinicshaveevengonesofarastoreplacetelevisionswithspa-

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typemusicintheirwaitingroom(Docksai,2011).Scholarshaveequallydescribed

listeningandplayingmusicasafocusofspiritual,physical,andmentalhealth.Well-

being,breathingandposture,social,spiritual,andimmunesystembenefitswere

exploredinClifandHancox’s(2001)studywhofoundthatthemostresoundinghealth

effectsinrelationtoactiveengagementinmusicwerepositivemood,increasedlung

capacityandbreathing,socialization,andadrenalin.Inolderadults,ithasbeennoted

thatpeoplewithhighlevelsofinvolvementinleisureseethelargesthealthbenefits

(Heo,Stebbins,Kim,&Lee,2013).Forexample,attendingconcerts,playingmusic,and

singinginachoirwerefoundtobefactorsofself-ratedhealthinageingadults

(NummelaSulander,Rahkonen,&Uutela,2008).Inthisparticularstudy,theauthors

foundthatwomenrelategoodself-ratedhealthwiththeseactivitiesmorethanmen,

andthatparticipativeleisureactivitiesweremorecloselyalignedwithgoodself-rated

health.Thestressreliefassociatedwithmusichasalsobeenseentoreducethe

likelihoodofhereditarydiseasesbecomingactive,suchasheartdisease(Docksai,

2011).Thiscurrentstudyfocusesonmembersofthemillennialgenerationandtheir

involvementwithmusicandmusictourism.

MillennialMusicTravelers

KrugerandSaayman(2015)recognizehow,“music,it’slyricsandartist[s],

providemodelsforliving,makingmusiccultureanimportantsourceforthe

constructionof(adolescent)identity”(p.3).Millennials,alsoknownasGenerationY,

arecharacterizedasagrowingtourismmarketwithdifferentprinciplesthanprevious

generations.AccordingtoBenckendorff,Moscardo,andPendergast(2010),millennials

generally“valuediversityandequality;lovemusic,movies,televisionshows,friends

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anddiningout,”(p.31).Millennialsconsistofaround75millionpeopleandarethe

largestsectorofthepopulationaccordingtoPewResearchCenter,anonpartisan

authoritythatconductssocialscienceresearch(Fry,2016).Theyareagenerationwho

frequentlytravels,wantsnewexperiences,wantstolearnmore,andarespendingmore

ontravelthanGenerationX(Benckendorffetal,2010).Millennialsarealsothreetimes

thesizeofGenX,orthosebornaroundthedatesof1960-1980,and70%oftheir

incomeisarbitrary(Dotson,Clark,&Dave,2008;KrugerandSaayman,2015).Dotson

etal(2008)arguesthatthegenerationaldifferencesbetweenGenXandGenYcome

downtolifestylechoices,experiencesfacedgrowingup,andwhatdefinesaholiday.

Music,andmusic-basedleisure-suchasBandCruises-aresomeoftheunique

experiencesbeingmarketedtoGenerationY.Millennialsaremorelikelytotravel

overseas,especiallybeforehavingafamilyintheirearly30’sto40’s.Around80%of

worldwidemillennialsage18to24areeithercollegeeducatedorpursuingadegree

(Edwards,2012).Theseyounger,educatedpeoplearetraveling,visitinghostels,and

seekinguniqueexperiences.A2020HotelTrendsreportnotedthatresearchfrom

MMGYGlobal,anintegratedtravelmarketingfirmbasedinKansasCity,MO,indicated,

“24%ofmillennialsareplanningtotakemoreovernightleisuretripsinthecomingyear

thanintheprevious12months”(HotelNewsNow,2015,p.3).Oneindustryconcernis

thelackofrepetitionexecutedbythisgeneration;theyareunlikelytorepeatbusiness

often(Benckendorffetal,2010).Thismakesitnecessarytocreateauthenticandunique

experiencesthatprovidevalueonallfronts.

AUniqueSellingProposition(USP)helpstourismbusinessesdifferentiate

themselvesamonganexpandingfieldofdestinationsandrecreationopportunities

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(Benckendorffetal,2010).Itrequiresthedevelopmentof“competitiveadvantage

throughuniquenessofthedestination’stourismresources”(p.2).Someexamplesof

USPswithinthetourismindustryincludeculturaltourismofindigenouspeopleand

foodsuchasHardRockCafé.HostelshavebeenfoundedaroundUSPsforyears,often

fixatedonpriceandlocation,howeverwithincreasedcompetition,hostelsmustfind

otherwaystoattractnewguestsandselltheirservices.Ithasalsobeensuggested

utilizingUSPsinmarketingmessagesimprovestherecognitionofproductsinthe

customer’smind(MillerandHenthorne,2007).Packaginglodgingwithexperience-

basedproductscanincreasemarketshareofbothlodgingandothertourism

businesses.Packagingisthe“mixtureofproducts,services,andinteractions,”thatcan

enhanceaguest’sexperience.(Kandampully,2000,p.14)andcanmostoftenbedivided

intocoreandperipheralservices.Coreservicesaretourismproductsthataddressthe

primaryneedofaguestwhileperipheralservicesarelessexpectedbutcanincrease

guestsatisfaction(Kandampully,2000).Thesepackagesarepartofabusinesses

marketingmixandultimatelyhelpexceedguestexpectationsiftheyaredevelopedin

accordancewithguestneeds(Kandampully,2000).

DevelopmentandPerceptionofHostels

Onceknownasa“bursae”,temporaryhousingforstudentsandscholarswas

developedbymembersoftheProtestantandCatholicreligions;indeedhostelshave

existedinsomeformsincethemedievaltimes(Edwards,2012).However,inthe19th

century,theIndustrialRevolutionbroughtmorerecreationfacilitiesintourbanareas

andhousingforthetravelingpublicbecameincreasinglynecessary.Organizationslike

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theYoungMen’sChristianAssociationbegantoofferrecreationfacilitiesaswellas

lodginginLondon(Edwards,2012).

Theinventionoftheautomobileattheturnofthe20thcenturyincreasedthe

public’sabilitytotravelfurtherdistances.Additionally,aGermanyouthmovement

knownasthe“Wandervogel”encouragedpeopletoparticipateinrecreationandnature

(Edwards,2012).Around1910,themembersoftheWandervogelandthenewly

foundedBoyScoutsandGirlsGuidesoftheUKsupportedtheideaofnaturalrecreation

andlivingoffthelandandareseenaspredecessorsofpresent-daybackpackers

(Edwards,2012).AtthistimeaGermanteacherbythenameofRichardSchirrmann

createdthefirstyouthhostelinhisclassroomasaplaceforstudentstostayduring

theirnatureexcursions(Edwards,2012).Thedevelopmentofyouthhostelsincreased

rapidly1907-1913tonumberover80andwasfurtherexpandedbytheestablishment

ofYouthHostelAssociations(YHAs)invariouscountries(Edwards,2012).In1932

therewereover2,600hostelsthroughoutEurope.ThispromptedYHAstoformthe

InternationalYouthHostelFederation,whichsetouttoestablishuniversalguidelines

andprinciplesforYHAs(Edwards,2012).Thishelpedlegitimizehostelsasvalue

accommodation,whiletourismbecamealargernationalandinternationalformof

leisureandrevenue.

Today’syouthstillutilizehostels;thelevelofamenitiesofferedbysomehostels

hasbecomecomparablewiththatofmoreluxuryaccommodationandthereforehas

raiseddemandforthemastheyhave“becomemoreinlinewiththeaccommodation

experienceofthemainstreamtourist,”(Hannam,2007,p.245).Poshtels,orposh

hostels,areoneexampleofthemoreluxurioustypes(Trejos,2016).WesternEurope

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hasbeenattheforefrontofhosteldevelopmentandparticipationwhiletheUnited

Stateshaspopularizedotherformsoflodging.HostellingInternational(2016)notesthe

starkcontrastofhostelsintheU.S.versusworldwide.ShivAriyakulaofHVS,aglobal

hospitalityresearchandprofessionalservicefirm,notesthestarkcontrastinnumberof

hostelsinEuropeversustheUSA.Thereareover4500hostelsinEurope,whilethe

bookingsiteHostelworld.comoffers249hostelsin98citiesintheUSA(Ariyakula,

2016;HostelWorld,2017).ItshouldbenotedthattheamountoflandmassintheUSA

comparedtoEuropeisover2times.Thisemphasizesthepopularityofhostelsas

lodginginotherpartsoftheworldcomparedtoalessfortuitousmovementintheU.S.

(HostellingInternational,2016;Ariyakula,2016).HostelsintheUSaremainlyinurban

centerssuchasNewYorkCityorWashingtonDCandrarelyexistoutsideof

metropolitanareas(Edwards,2012).Field(1999)furtherexpressedhowforeign

studentsintheU.S.rarelyvisithostels;theyaremoreinclinedtostayathotelsorwith

friends,whiletheoppositeistrueamongtravelersinEurope.

Previousresearchhascharacterizedthehostelpatronasyoung(typically18-

35),educated,andatatransitioninlife(Edwards,2012).Theircommonalitiesalso

persistintheirnecessitytoconservemoney,whichisanunderstoodconstraintto

purchasingthetypeofpackagesuggestedinthecurrentstudy(Edwards,2012).What

maybeconsidered‘amenitycreep,’moderndayhostelsnowprovidethenecessary

amenitiesoftodaystravelers,“containingfamiliarcomfortssuchasWi-Fiinternet,

English-speakingstaff,security,livemusic,sociality,privacyfeaturesthathavebecome

socommonplaceandfamiliarwithinhostels,thattheyarenowonlynoticeablewhen

missing,”(O’Regan,2010,p.12;BertschiandDouglas,2014).Inregardstobackpackers,

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asubsetofhostelpatrons,OoiandLaing(2010)foundthatofasampleof24918-35

yearolds,71.5%werebetweentheagesof18-24.Twenty-onenationalitieswere

represented,withjustover50%beingofBritishorIrishorigin.Scandinaviancountries

suchasFinland,Sweden,andDenmarkhavealsobeenrecognizedaspopulationsthat

travelfrequently(Whichcountriestravel,2016).

Consumerperceptionsofhostelsvary.Safety,location,socializingopportunities,

typeofaccommodations,andamenitiesareallintegralfactorsforcollegestudents

whenchoosingahostel(Edwards,2012).Inparticular,proximitytotransportation,

opportunitytoprepareorbuyfood,andbeingabletoexperiencethelocalcultureare

specificfactorsconsidered.Further,Amblee(2015)discoveredthatperceptionsof

hostelsecuritywereprimarilybasedoncleanlinessandlocation.

SocialNetworkingandMusic

Overtime,musiccommunitieshaveevolvedaroundparticularartists.Phish

“phans”,GratefulDead“Deadheads”,andTheBeatles’“Beatlemaniacs”arejustthree

examplesofsocialnetworking.Communitiescanbedefinedas“networksof

interpersonaltiesthatprovidesociability,support,information,asenseofbelonging

andsocialidentity”(Wellman,Boase,Chen,2002,p.153).

Deadheadsareoneofthemostwellknownmusicfandomsaround,comprising

ofanestimated500,000fans.Adams(2003)foundthattheaverageDeadheadattended

GratefulDeadconcertsforaround10to11years,andhadtraveledaround800milesto

seeaconcert.Whilethebandstoppedtouringin1996afterthedeathofleadguitarist

JerryGarcia,thefandomhascontinuedtothriveandinteract.Theyoftencommunicate

throughfanportalsandonsocialmedia,rehashingtheirGratefulDeadexperiences.

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Theybelievethat“Dead”songshelpthemrealizeanoutlookonlifethrough“kindness,

peace,andawarenessoftheworldaround,”(Pattacini,2000,p.12).Deadheads’

resiliencythroughstigmaandshiftingmusicscenesisseenastherealpowerofthe

GratefulDead.

Phish,amulti-genrejambandformedin1983,hasafollowingofloyal“Phans”.

Theyoriginatefromalloverandsharea“commoninterestandoftencommonvalues,”

(Mallon,2014,p.1).Phish.netisasourceofcommunicationandaffiliationthatgives

Phansacommonrepresentationandpurpose(Mallon,2014).Topicsoffreedom,ethical

consumption,andauthenticityweremostprevalentontheirmessagingboards(Mallon,

2014).Phans’commoninterestshaveleadtosocialandpoliticalactivism,suchas

internationalaidtothe2011HaitiEarthquake(Mallon,2014).

Additionally,openmiccommunities,suchasthoseinManchesterUK,have

establishedatightknitgroupofpatrons,acts,andvenuemanagerswhichhelpdevelop

andmaintainlocalmusicinpubsandotherestablishments.OpenMicNightsareoneof

theleastintimidatingentrypointsforamateurmusicians;therearenopre-requisite

skillsneededandparticipantshavetheopportunitytodeveloptheirmusicalexpression

publicly.Itoffersa“non-exclusive,non-judgmental,liberalandsupportive

environment,”(Edensor,Hepburn,Richards,2014,p.153).Participantscanachievea

varietyofoutcomesintheOpenMicscene,fromdevelopingstagecrafttopaid

performances(Edensoretal.,2014).

Theuseofsocialmediahascertainlyaffectedarapidchangeintheworldof

musicasitisoftensharedonsocialmediaandthenaccessedthroughonlinealbum

salesorpeer-to-peernetworks(DewanandRamprasad,2014).Peoplehavebroader

19

musicaltastestoday,asclassifiedbyCrossley,McAndrew,andWiddop(2014),and

havingareceptivenesstomoregenresofmusicisassociatedwith“highersocialstatus,

socialclass,education,gender,youth,andgeographicallocation,”(p.9).Whitingand

Williams(2013)explainedthatsocialmediauseforsocialinteractionisthemost

prevalentformofengagement.Approximately86%of18-29yearoldsareonFacebook

(ManagoandVaughn,2015).Asapartofeverydaylife,“Facebookisbeingusedtomeet

thebasichumanneedsforrelatedness,whichinvolvesinterpersonalcloseness,

connection,belonging,andacceptance”(ManagoandVaughn,p.188,2015;alsosee

Anderson,Fagan,Woodnutt,&Chamorro-Premuzic,2012;Sheldon,Abad,&Hinsch,

2011).ActiveusersofFacebookalsodemonstratehighersocialcapitalthanpassive

users(ManagoandVaughn,2015).

Last.fmisanexampleofasocialnetworkplatformgearedtowardsmusic

sharing.BaymandLedbetter(2009)foundthatsharedmusicaltastewasanindicator

offriendshipformationonLast.fm.Proximitytoausersagewasalsoseenasan

indicatorforfriendshiponLast.fmwhilegenderandgeographiclocationwerenot

(BaymandLedbetter2009).

MusicPerformanceandVenuePerceptions

Music,especiallyinaperformancesetting,isaconsumedexperience.Inaddition

tothemusicalperformanceitself,non-musicalcharacteristicsoftheexperiencecanbe

asequallyimportanttoaudiencesatisfaction.Radbourne,Johnason,Glow,andWhite

(2009)foundthatsomeaudiencemembersmightbeuncomfortablesittinginthefront

rowsofavenue,yettheyenjoyedtheintimateexperienceandseeingtheemotional

reactionofperformersupclose.Theyalsofoundthatpeoplegenerallywantedthereto

20

besomeaudienceinteractionwithaperformanceandthataudiencesvalued

communicationamongaudiencemembersandthefeelingofbeingapartofacollective

whole(Radbourneetal,2009).Thompson,Graham,andRusso(2005)describehow

audiencesinterpretemotionsthroughvisualandauditorymeansasopposedtojust

auditorymeans.Facialexpressionsandgesturesofperformersconveyedemotionand

weredistinguishablebytheaudience,whichinfluencedauditoryfactorssuchaspitch

andintervals(Thompsonetal,2005).

Varioustypesofperformancespacesarefoundgloballyandhavebeendivided

intofourcategoriesbyBritishscholarRobertKronenburg:adopted,adapted,created,

andmobile(Cashman,2013).Adoptedspacesaremodifiedfortemporaryuse,adapted

spacesaremodifiedforpermanentuse,createdspacesarebuiltfromscratchfor

permanentuse,andmobilespacesareerectedanddemolishedonanas-needed,

temporary-basis(Cashman,2013).Allfourtypesofspacescouldbeutilizedinalodging

settingdependingonneedandavailablespace.Thepurposeofthecurrentstudyisto

increaseunderstandingofmusictourismbyfocusingonauniqueexperience:themusic

venue-hosteltourismpackage.

Toexploremillennialinterestinacombinedlodging-musicvenueexperience,a

surveywasdevelopedtounderstandmoreabouttheirwillingnesstopurchasea

proposedmusicvenue-hosteltourismpackage.Theiraffiliationtoamusiccommunity

andhowtheydefinethatwasalsoinvestigatedtogiveinsighttotheirloyaltyand

likelihoodofpurchasingtheproduct.SocialWorldsTheoryisusedasanunderlying

theorytodescribetheseaffiliations,theirsignificance,andhowtheyaffecttourism

businesses.

21

Theresearchquestionthereforeiswhatisthewillingnessof18-29yearoldstopayfora

HostelandMusicVenuetourismpackage?Howeverseveral‘sub-questions’were

exploredtounderstandthismorefully.

1a. Howdodemographicssuchasgender,age,andoriginrelatetowillingnessto

payforthehostelexperience(WTPH)?

1b. HowdoesannualtraveltomusicconcertsandfestivalsrelatetoWTPH?

1c. HowdoesperceptionofmusicconcertatmosphererelatetoWTPH?

1d. HowdoannualmusicandconcertpurchasesrelatetoWTPH?

1e. HowdoesaccommodationchoicerelatetoWTPH?

1f. HowdoesperceptionofmusicandwellbeingrelatetoWTPH?

1g. HowdoesSocialWorldsTheorycategorizationrelatetoWTPH?

MethodologySurveydesign

Thesurveyconsistedofsevensections,thefirstestablishingthedemographics

oftherespondents.Gender,age,educationlevel,workstatus,andpassportavailability

weresurveyed.Thenextsectionaskedrespondentsabouttheirmusicalinvolvement:

howoftentheylistentomusic,playmusic,andtheirfavoritegenres.Thenexttwo

sectionsinquiredaboutthefrequencyofattendancetooutoftownmusicconcertsor

festivals.ThefifthdescribedtheMusicHostelpackageindetailandaskedthe

respondenthowmuchtheyarewillingtopayforsuchapackage.Thesixthsection

requestedinformationonhowmuchrespondentsannuallypayformusic/music

subscriptionservices,concerts,andadditionallytheirsocialmediapostsrelatingto

them.Thefinalsectionaskedrespondentstoindicatetheirlevelofagreementonax-

22

pointscaletoaseriesofstatementsaboutmusicalinvolvement,musicalcommitment,

theirperceptionsofmusicandwellness,andfactorsrelatedtopersonalsatisfactionat

musicevents.

Surveyquestionsweredevelopedfromtheliteratureonmusictourism(Ali,

2013;Campbell,2011;Gibson,2005),Millennialtraveltrends(Benckendorffetal,

2010;Dotsonetal,2008),andSocialWorldsTheory(Dittonetal,1992;Finnegan,

2007;Stebbins,1996).Thelistoflikert-scaleagreementstatementsweremodeled

primarilyafterDittonetal.(1992).ThesurveywaspilotedinApril2016witheight

AppalachianStateUniversityundergraduatestudentsusinganinterceptmethodwith

subsequentinterviewsaboutthesurveyprocess.Revisionsweremadebasedon

feedbackfromthepilotprocessandafinalsurveywasplacedonline.

StudyParticipants

Thisstudyfocusesonmillennialsasatargetdemographicfortheproposed

hostelmusicpackage;thereforepopulationsinthisagerangeweresurveyed.Three

nationalitiesweresurveyedincludingtheUnitedKingdom(UK),Australia,andUnited

StatesofAmerica(USA).Themainconceptforthisthesiswasdevelopedwhilethe

primaryresearcherwasabroadinAustralia,andthiscountryhasastrongtourism

business.TheUKhasawidespreadmusictourismbusiness;thereforeitisarelevant

populationtosurvey.TheUnitedStatesisaconvenientsampletostudy,giventhatthe

researchersarefromtheUSA.FortheUnitedKingdomandAustraliasamples,the

platformSurveyMonkeywasusedtopurchaseresponses.Thisserviceisavailableto

procuresurveyresponsesfromanestablishedpoolofpeoplewhohaveopted-into

takingsurveysforpay.Thisserviceallowedustodefinethepopulationparameters

23

betweentheagesof18-29andgeographicregionsoftheUKandAustralia.This

encompassesamajorityofmillennials,asthepopulationswouldbebornbetween

1987-1998,andmillennialsareidentifiedasthosebornbetween1982-2000(US

CensusBureau,2015).FortheUnitedStatessamplewesurveyedundergraduate

studentsatAppalachianStateUniversity.Thesestudentsrangedfrom18-23,whichisa

smallersampleofthetargeteddemographicandshouldbeconsideredaproductof

conveniencesample.

DataCollectionandAnalysis

TheUKdatasetwascollectedinSeptember2016,theUSdatasetinNovember

2016,andtheAustraliandatasetinJanuaryof2017.Asmentionedpreviously,theUK

andAustralianresponseswerepurchased;thereforetheremainderofthissection

focusesontheAmericansample,whichwasfacilitatedthroughfourfacultymembers.

Twocollegeswereselectedforparticipation,theWalkerCollegeofBusinessandthe

BeaverCollegeofHealthSciences,andwithinbothcolleges,twoprofessorsfromwere

chosentoadministerthesurvey.TheseprofessorswereDr.CarolKline,PhD,Associate

ProfessorinHospitality&TourismManagementintheWalkerCollegeofBusiness,Dr.

RachelShinnar,ProfessorinManagementintheWalkerCollegeofBusiness.Dr.Joy

James,PhD,AssociateProfessorinRecreationManagementintheBeaverCollegeof

HealthSciencesandDr.ElizabethMcGrady,PhD,AssociateProfessorinHealthCare

ManagementintheBeaverCollegeofHealthSciences.Ineachcase,studentswere

emailedtheonlinesurveylinkbytheirprofessor,andgivenacertainamountoftimeto

completethesurveyforextracredit.Eachprofessorsentoutatleastonefollow-up

reminderemail.

24

TheUnitedKingdomsamplewasobtainedthrough110paidSurveyMonkey

responsesfromSeptember6ththroughSeptember7th,2016.TheAustraliansamplewas

obtainedthrough100paidSurveyMonkeyresponsesfromFebruary7ththrough

February8th,2017.Aresearchgrantwaswrittenandawardedintheamountofthree

hundreddollarsfromtheOfficeofStudentResearchatAppalachianStateUniversityas

wellasaBarnesProgramStudentResearchGrantfromtheWalkerCollegeofBusiness

intheamountofthreehundreddollars,thesewereutilizedtoobtaintheAustralian

samplepaidresponses.DatawereanalyzedusingSPSSversion24.0.

ResultsDescriptiveResults

FromSeptember6th,2016toFebruary12th,2017threeseparatesurveyswere

conductedforatotalof345.Ofthose,328weredeterminedtobevalid.Aroundone-

thirdoftherespondentsarefromeachoftheorigincountriesrepresented.Amajority

ofrespondents(59.5%)werefemaleandfull-timestudents(52.7%).Overthree-fourths

oftherespondentshadapassport(77.4%).Table1showsthesocio-demographic

breakdownoftherespondents.

Table1:Socio-demographicProfileofParticipants(n=328)

VariablePercentageofRespondents

OriginUnitedStates 37.8%

Britain 31.4%Australia 30.9%

GenderFemale 59.5%

Male 39.9%

25

Prefernottoanswer 0.3%

Education/WorkStatus

Full-TimeStudent 52.7%Full-TimeWork 32.0%Part-TimeWork 21.6%NoWorkStatus 7.6%Part-TimeStudent 3.4%

TheeducationalhistoryoftheUnitedKingdomandAustralianrespondentswas

asked,withnearlyhalf(47%)possessingatleastaBachelor’sdegree(Table2).

Table2:EducationHistoryofRespondents

EducationLevel

PercentageofRespondents(n=204)

SecondaryEducation/HighSchool 23.5%SomeCollege 16.2%Associate'sDegree/Apprenticeship/TradeSchool 6.9%Bachelor'sDegree 35.3%MastersDegree 11.3%DoctoralDegree 0.5%TAFESchool 5.9%

MajorsofundergraduatesatAppalachianStatewereprimarilyfromHospitality

andTourism(30.8%)andRecreationManagement(24.6%).Atotalof33majorswere

represented(Table3).

Table3:MajorsofAppalachianStateStudents(n=130)

MajorPercentageofRespondents

Hospitality&TourismManagement 30.8%RecreationManagement 24.6%BusinessManagement 7.7%HealthcareManagement 3.8%Marketing 3.8%Accounting 2.3%FoodSystems 2.3%FermentationSciences 2.3%

26

Psychology 2.3%Nutrition 1.5%ComputerInformationSystems 1.5%Other 16.9%

Respondentswereaskedwhethertheyidentifyasamusicenthusiast.Nearlyall

oftherespondents(93.9%)identifiedaseitheramusicenthusiastorsomewhatan

enthusiast(Table4).

Table4:MusicEnthusiastIdentification(n=328)

MusicEnthusiastSelfIdentify? PercentageofRespondentsYes 67.1%Somewhat 26.8%

Manyrespondentsalwaysorroutinelylistentomusic(87.2%),whilejustover

halfofrespondentsplaymusictosomeextent(52.8%).Mostoftherespondentswho

playmusiceitherdoitrarelyoroccasionally(35.4%).Thedetailedresultsof

respondentsmusicactivitiesareinTable5.

Table5:FrequencyofMusicActivities(n=328)

VariablePercentageofRespondents

FrequencyofMusicListeningRoutinely 48.2%

Always 39.0%Occasionally 7.9%Rarely 3.4%Never 0.9%

FrequencyofMusicPlayingNever 47.3%

Rarely 17.7%Occasionally 17.7%Routinely 13.1%Always 4.3%

27

Respondentswereaskedtoselecttheirthreefavoritegenresofmusicfromalist

providedtothem.Thislistwasadaptedfromthecategoriesfoundon

musicgenreslist.com.Justunderhalfofrespondents(47.6%)saidpopwasoneoftheir

threefavoritegenres;thiswasfollowedbyrock(39.%)andhiphop/rap(34.8%).The

fulllistoffavoritegenresisavailableinTable6.

Table6:FavoriteGenresofRespondents(n=328)

FavoriteGenresPercentageofRespondents

Pop 47.6%Rock 39.6%Hip-Hop/Rap 34.8%Alternative 27.7%Country 21.6%R&B/Soul 17.7%Singer-Songwriter/Folk 17.4%Electronic 16.5%Dance 15.2%Jazz 9.1%Religious 7.0%Classical/Opera 6.4%

Blues 5.2%Reggae 4.3%Holiday 4.0%NewAge 1.8%WorldMusic 1.2%Latin 0.9%

Note:Asrespondentscouldselectmorethanoneanswer,percentagesmaynotaddto100%.

Therespondentswereaskedhowmanytimestheywenttoaconcertinthelast

twoyearsandhowmanyofthoseconcertswere50milesormoreaway.Aroundone-

thirdofrespondents(32.3%)wenttoonlyoneconcertinthepasttwoyears,followed

by20.7%whoattended“threetofour.”Half(50.8%)oftherespondentstraveledto

concerts50milesorfurtheraway,with16.3%goingtooneortwoconcerts,

respectively.MoredetailedresultsareoutlinedinTable7.

28

Table7:ConcertAttendanceHabits(n=328)

Variable PercentageofRespondentsAmountofConcertsAttendedinLast2yearsLessthanone 17.7%Once 32.3%ThreetoFourtimes 20.7%Morethanfourtimes 15.2%

AmountofConcertsAttendedOver50MilesAway,last2years1 16.3%2 16.3%3 4.7%4 4.4%5 4.1%6+ 5.0%

Theaccommodationuseofconcerttravelerswasdiverse.Abouthalfofthe

populationstayedatHotels,Resorts,orMotels(26.2%)orwithFriendsorRelatives

(25.6%).Hostels,themainfocusofthisstudy,werestayedatby5.5%ofthe

respondents.Table8detailsthecompleteaccommodationchoicesbyconcertgoers.

Table8:AccommodationUseatConcerts(n=328)

AccommodationUsedPercentageofRespondents

Hotel/Resort/Motel 26.2%FriendsorRelatives 25.6%Itypicallydon'tstayovernight 24.4%Hostels/Backpackers 5.5%AirBnB,Couchsurfing,Etc. 5.2%Camping 3.0%

Therespondentswereaskedhowmanytimestheywenttoafestivalinthelast

twoyearsandhowmanyofthoseconcertswere50milesormoreaway.Approximately

one-thirdoftherespondents(33.2%)wenttoatleastonefestivalinthelast2years

29

with29.2%havinggonetofestivalsfurtherthan50miles.Table9describesthe

populationsfestivalattendancehabits.

Table9:FestivalAttendanceHabits(n=328)

Variable PercentageofRespondentsAmountofFestivalsAttendedinLast2yearsLessthanone 25.3%Once 25.0%ThreetoFourtimes 7.0%Morethanfourtimes 1.2%

AmountofFestivalsAttendedinLast2yearsover50MilesAway1 13.4%2 8.5%3 2.1%4 2.4%5+ 2.7%

Accommodationuseoffestivalgoerswassimilartoconcerts.Ofthosethatwent

tofestivals,aroundone-fifth(18.3%)don’tstayovernight,whilemostpeople(26.5%)

onceagainstayedatHotels,Resorts,orMotelsorwithFriendsorRelatives.Hostels,the

mainfocusofthisstudy,wereutilizedby6.1%oftherespondents.Table10showsthe

breakdownofaccommodationuseoffestivalattendees.

Table10:AccommodationUseAtFestivals(n=328)

AccommodationUsedPercentageofRespondents

Hotel/Resort/Motel 13.4%FriendsorRelatives 13.1%Itypicallydon'tstayovernight 18.3%Camping 8.5%Hostels 6.1%AirBnB,Couchsurfing,Etc. 4.9%

Spendingvariedonmusicactivitiesinthelastyear.Manyrespondentsindicated

theyutilizeonestreamingserviceforalloftheirmusic,eitherlistingthatserviceby

nameorlistingtheirmonthlyexpenseforthatservice.Thesenumbersarerepresented

30

inUSD,andallPoundsandAustralianDollarshavebeenconverted.Justoverone-third

ofrespondents(37.6%)spentlessthan50dollarslastyearonmusicdownloadsor

streaming.Aroundafifth(21.3%)spentbetween$51and$100dollars.Most

respondents(53.4%)spentlessthan$200onconcertticketsinthelastyearwithan

additional21.1%spendingover$200.Table11depictsthefullrangeofspendingon

musicactivities.

Table11:DollarsSpentOnMusicActivities(n=328)

Variable PercentageofRespondentsDollarsSpentonMusicDownloads1to50 37.6%51to100 21.3%101to200 16.4%201to300 1.8%301+ 2.5%

DollarsSpentonConcertTickets1to50 18.8%51to100 21.6%100to200 16.1%201to300 8.3%301+ 10.5%

Respondentssocialmediausetotalkaboutmusicwasquestioned.Most

respondentspostaboutlisteningtomusic(61.0%)orattendingaconcertorfestival

(62.8%)atleastafewtimesayear.Almosthalfofrespondents(48.5%)postabout

attendingconcertsorfestivalsafewtimesayear.Morerespondentspostdailyabout

listeningtomusic(13.5%)thandosoaroundonceaweek(11.0%).Table12showsthe

frequencyofsocialmediausebyrespondents.

Table12:SocialMediaUseofRespondentsinRegardstoMusicActivities

Variable Afew Oncea Oncea Daily

31

timesayear

month week

ListeningtoMusic(n=327) 23.6% 12.9% 11.0% 13.5%

PlayingMusic(n=326) 18.0% 7.0% 6.1% 2.1%Performing,producing,recording,oreditingmusic(n=325) 8.9% 4.9% 4.3% 3.4%

Attendingaconcertorfestival(n=328) 48.5% 8.2% 4.3% 1.8%

Respondentswereaskedavarietyofquestionsrelatedtotheirconcert

experience.Thesewereevaluatedonanagreementscale.Aroundfour-fifthsof

respondentsagreedorstronglyagreedthataconcertcouldbeenjoyableiftheyhad

neverheardoftheartists(78.8%),didnotmeettheartists(87.7%),werenotatthe

frontofthecrowd(84.6%),ordidnotbuybandmerchandise(86.1%).Aroundtwo-

fifthsagreedorstronglyagreedthattheatmosphereofaconcertisimportanttothem

(40.5%).Therewasnogeneralconsensusonhowmanyartistsrespondentspreferred

tohear,as48.5%neitheragreednordisagreed.Mostrespondents(85.2%)agreedthat

musicbenefitstheirwellbeing.Thefulldetailsofrespondentsconcertpreferencesare

showninTable13.

Respondentspreferencestochoosemusicactivitiesoverotherrecreational

activitiesprovidedmixedresults.Aroundtwo-fifthsofrespondentswouldratherlisten

tomusic(38.9%)orgotoaconcertorfestival(41.4%)overotherpassiverecreational

activities,while22.8%wouldchoosetoplaymusicoverotheractiveactivities.Table14

offersadditionaldetailsonrespondentactivitypreferences.

32

Table13:ConcertEnvironmentandMotivations(n=324)

VariableStronglyDisagree Disagree

NeitherAgreeorDisagree Agree

StronglyAgree

AconcertcanbeenjoyableevenifI'veneverheardoftheartists 4.6% 4.0% 12.7% 51.9% 26.9%AconcertcanbeenjoyableevenifIdon'tmeettheartists 1.5% 2.8% 8.0% 28.1% 59.6%AconcertcanbeenjoyableevenifIamnotatthefrontofthecrowd 1.5% 2.5% 11.4% 45.1% 39.5%AconcertcanbeenjoyableevenifIdon'tbuybandmerchandise 1.5% 2.2% 10.2% 31.5% 54.6%Igotomusicconcertsinordertolearnaboutthemusic 8.0% 22.8% 39.5% 22.2% 7.4%Igotomusicconcertsinordertonetworkwithmusicians 28.7% 36.4% 23.1% 8.6% 3.1%Anintimateatmosphereofaconcertisimportanttome 4.0% 16.0% 39.5% 30.9% 9.6%Iprefertoattendaconcertfeaturing3artists/bandsorless 3.1% 15.7% 48.5% 25.6% 7.1%WhenItravelIaminterestedinseeingabandthatidentifiesaspartofthelocalculture 7.1% 17.0% 42.0% 27.2% 6.8%Ibelievethatlisteningtomusicbenefitsmywellbeing. 1.5% 1.9% 11.4% 42.0% 43.2%

Table14:MusicActivityChoices(n=324)Variable SD D Neither A SAIwouldprefertolistentomusicoverotherpassiverecreationalactivities 4.9% 20.4% 35.8% 27.8% 11.1%Iwouldprefertoattendamusicconcertorfestivaloverotherpassiverecreationalactivities 7.1% 20.1% 31.5% 28.1% 13.3%Iwouldprefertoplaymusic(instruments)orsingoverotheractiverecreationalactivities 18.8% 31.5% 26.9% 15.7% 7.1%Note:SD=Stronglydisagree;D=disagree,Neither=Neitheragreeordisagree,A=agree,SA=stronglyagree

33

SocialWorldsTheoryCategorizationforParticipantsOrientation

Membershipinasocialworldisbasedontheextenttowhichaperson

understandsandidentifieswiththatsocialworld(seeTable15forsummaryof

concepts).Forthepurposeofthisstudy,thedegreebywhichapersonidentifiesasa

musicenthusiastisusedasadeterminationoforientation(seeTable6).Respondents

whodidnotconsiderthemselvesmusicenthusiastsaretypicallyconsideredstrangers,

whileone’swhoidentifyasmusicenthusiastsfallunderthelatterthreecategories.

Experiences

Experiencerelatestoanindividualsunderstandingofrules,procedures,and

normsofasocialworld.Thiscantransitionfromlearningthesenormstoeventually

creatingsocialworldexperiences.Inthisstudy,respondent’sfrequencytogotomusic

concertsandfestivalsisconsideredlearningtherulesandproceduresofmusicsocial

worlds(seeTable7&Table9,section2).Strangersarepeoplewhoinfrequentlygoto

concertsbuthavesomeinterestinthem.Touristsunderstandthenormsofconcertsbut

donotgotothemregularlyaspartofsocialworlds.Regularsarepeoplewhogoto

concertsfrequently,whileInsidersarepeoplewhogotoconcertsandfestivalsandmay

alsoparticipateinthem.

Relationships

Inrelationtothisstudy,thefrequencyofsocialmediapostingsofanymusic

activitiesisusedtodeterminearespondent’slevelofrelationshiptomusicsocial

worlds(seeTable12).StrangersandTouristsarerespondentswhoalmostneverpost

orpostinfrequentlyonsocialmediaaboutmusicactivities,whileRegularsandInsiders

34

willpostmorefrequentlyaboutsubjectssuchaslisteningtomusic,playingmusic,or

attendingaconcertorfestival.

Commitment

Thecontinuationofasocialworldislargelybasedonthecommitmentofits

actors.Commitmentisseenasconsistent,focusedbehavior,aswellastheintroduction

ofsidebets,andanattachmenttogoalsandvaluesofarole,activity,ororganization

(Ditton,Loomis,andChoi,1992).Commitmentinthisstudyisgaugedbyarespondent’s

frequencytolistentoandplaymusic(seeTable5).StrangersandTouristsare

respondentswhomaylistentomusicfrequently,butmostlikelynotplaymusictoany

greatextent.RegularsandInsidersarepeoplewhoarecommittedtothesocialworld

throughconsistentlylisteningtomusicandmayalsoplayfrequently.Theconsistency

andfrequencyofparticipatinginthesemusicactivitiesisthedefiningcharacteristicof

commitment.

ThesesixfactorsbasedonOrientation,Experiences,Relationships,and

CommitmentwereusedincreatingtheSocialWorldsTheorycategorizationof

respondents,asshowninTable29.

Table15:CharacteristicsandTypesofParticipationinSocialWorlds

Strangers Tourists Regulars InsidersOrientation Naiveté Curiosity Habituation IdentityExperiences Disorientation Orientation Integration CreationRelationships Superficiality Transiency Familiarity IntimacyCommitment Detachment Entertainment Attachment Recruitment

Source:Unruh(1979)

35

TestResults

Toaddresstheoverarchingresearchquestionregardingwillingnessof18-29

yearoldstopayforaHostelandMusicVenuetourismpackage,several‘sub-questions’

wereexplored.Forexample,toinvestigatehowdemographicsrelatetoWTPH,three

statisticalanalyseswereemployed.

Gender

InordertotesttherelationshipbetweengenderandWTPH,anindependent

samplest-testwasconducted.Thetestwasfoundtobestatisticallysignificant,t(313)=

-2.41,p<.05.Theseresultsindicatethatfemales(M=3.81,SD=1.11)wouldpaymore

thanmales(M=3.47,SD=1.36)forthehostelexperience.

Womenwouldpayaround$7dollarsmorethanmenforthesameexperience;

perhapsonemainreasonforthisisthequestionnairewordingwhichspecificallylisted

ahostelofferingwomenonlydormsaswellasmixeddormsandprivaterooms.Based

onthisresult,ahostelownermaywishtochargemoreforasinglegenderrooms

comparedtomixeddorms–especiallyifaprivatebathroomwereincluded.

Age

TotesttherelationshipbetweenagesofrespondentsandWTPH,aone-way

AnalysisofVariances(ANOVA)testwasconducted.Theagesofrespondents,which

rangedfrom18to29,weregroupedintocategoriestokeepthegroupsizesfairlyeven.

Becausethelargestpartofthesamplewerestudentsenrolledinuniversity,thereare

morerespondentsinyoungercategories.Themeansandstandarddeviationsoftheage

categoriesaredisplayedinTable16.

36

Table16:Means&standarddeviationsofagesinrelationtoWTPHVariable M SD18-20(n=96) 3.7 1.2221-23(n=93) 3.66 1.2224-26(n=67) 3.39 1.3627-29(n=60) 4.02 1.02

ALevene’stestforequalityofvarianceswasfoundtobesignificantF(3,312)=

4.88,p=.002,indicatingequalvariancesnotassumed,therefore,aWelchtestof

equalityofmeanswasconducted,producingastatisticallysignificantresultF(3,163)=

3.11,p<.05.

PosthoccomparisonsusingtheGames-Howelltestindicatedthatthemean

scorefortherespondentsinthe27-29agerange(M=4.02,SD=1.02)wassignificantly

differentthanthe24-26(M=3.39,SD=1.36).However,nostatisticalsignificancewas

foundbetweenrespondentsinthe18-20agegroup(M=3.70,SD=1.22)andthe21-23

agegroup(M=3.66,SD=1.22).

Theoldestagerange,27-29yearolds,wouldpaythemostforthehostel

experience,whichcouldbeindicativeofthisgrouphavingstableemployment.18-20

yearoldsaswellas21-23yearoldswouldpayaroundthesamefortheexperience;24-

26yearoldswouldpaytheleast.Thisisanimportantfactorinconsideringwhich

millennialstomarketto,andthepricesensitivityamongtheagegroups.

37

RespondentOrigin

AnANOVAtestwasconductedtodeterminetherelationshipbetween

respondentoriginandWTPH,howevertheLevene’stestwasfoundtobeviolatedF(2,

314)=1.89,p=.15.AWelchtestforequalityofmeanswasusedandshowedthatthere

wasnotasignificanteffectoforiginonwillingnesstopayF(2,314)=2.95,p=.054.

However,thiswouldbeconsideredstatisticallysignificantatthep<0.10level.The

meansandstandarddeviationsofeachcountryoforiginareobservedinTable17.

Table17:MeansandstandarddeviationsoforigininrelationtoWTPH

Variable M SDUK(n=99) 3.43 1.31Australia(n=95) 3.82 1.18USA(n=123) 3.76 1.17

Whiletheseresultswerenotstatisticallysignificant,itisimportanttonotehow

AustraliaandUnitedStatesrespondentswerewillingtopaymoreasopposedtothe

UnitedKingdom.TherearemorehostelspercapitaintheUnitedKingdomand

Australia,whiletheUSAhasveryfewhostelsexceptinmajorcities.Australianand

Americanrespondentsarelikelytopayaround$8dollarsmorefortheexperiencethan

UnitedKingdomrespondents.

SpendingonConcerts

Researchquestion1brelatedtotherelationshipofWTPHwithrespondents’

annualpurchasesonmusicandonconcerts;theBritishandAustralianresponsesfrom

thesesurveyquestionswereconvertedtoUSdollars.AnANOVAtestwasconductedto

determinetherelationshipbetweenrespondentsannualdollarsspentonconcert

ticketsandWTPH,howevertheLevene’stestrevealedunequalvariancesF(5,311)=

38

6.05,p=.00.Therefore,theresultsfromaWelchtestwereemployed.Theseresults

indicateastatisticalsignificanceF(5,123)=5.57,p<.05.

PosthoccomparisonsusingtheGames-Howelltestindicatedthatthemean

scoreforthe$301+category(M=4.25,SD=1.08)wassignificantlydifferentthanthe

$1-50category(M=3.48,SD=1.13)andthe$0category(M=3.15,SD=1.48).

However,the$51-100category(M=3.81,SD=0.96),the$101-200category(M=3.98,

SD=1.07),andthe$201-300category(M=4.00,SD=1.02)didnotsignificantlydiffer

fromthe$301+category(Table18).

RespondentConcertAttendance

AnANOVAtestwasconductedtodeterminetherelationshipbetweenvisitsto

concertsfurtherthan50milesawayinthepast2yearsandWTPH.TheLevene’stestfor

equalityofvarianceswasfoundtobesignificantF(4,303)=7.94,p=.00,therefore,a

Welchtestofequalityofmeanswasused.TheresultswerestatisticallysignificantF(4,

98)=10.92,p<.05.PosthoccomparisonsusingtheGames-Howelltestindicatedthat

themeanscorefortherespondentswhowenttofourormoreconcerts(M=4.38SD=

.62)wassignificantlydifferentthanoneswhowentto0concerts(M=3.34,SD=1.35)

andalsobetween0concerts,1concert(M=3.96,SD=1.01)and2concerts(M=4.00,

SD=1.02).However,between2concertsand3concerts(M=3.89,SD=.99)therewas

nostatisticalsignificancefromthe0,1and4+category(Table20).

Table20:Means&standarddeviationsofconcertvisitsinrelationtoWTPH

Variable M SD0(n=154) 3.34 1.351(n=48) 3.96 1.012(n=49) 4.00 1.02

39

3-4times(n=28) 3.89 0.99Morethan4(n=29) 4.38 0.62

Thenumberofconcertsapersonattendsmorethan50milesawayfromhomeis

importantinhowmuchhe/sheiswillingtopayforthehostelexperience.However,

mostrespondentswhowenttoatleastoneconcertwerewillingtospendwithinthe

$60dollarrange,whilethosewhodidn’tgotoconcertswouldpayaround$47dollars.

Therewasalargejumpfrompeoplewhowentto3-4concertsandpeoplewhowentto

morethanfour,withthoserespondentswillingtopay$68dollarsfortheexperience.

Thissuggeststhatfrequentconcertgoers,especiallyoneswhogomorethanfourtimes

ayear,aregoingtopaymoreforamusichostelexperience.

RespondentFestivalAttendance

AnANOVAtestwasconductedtodeterminetherelationshipbetweenvisitsto

festivalsfurtherthan50milesawayinthepast2yearsandWTPH..ALevene’stestfor

equalityofvarianceswasfoundtobesignificantF(3,285)=10.88,p=.00,therefore,a

Welchtestwasused.TheseresultsindicatethattherewasstatisticalsignificanceF(3,

65)=11.40,p<.05.PosthoccomparisonsusingtheGames-Howelltestindicatedthat

themeanscorefortherespondentswhowenttothreeormorefestivals(M=4.33,SD=

.76)wassignificantlydifferentthanoneswhowentto0(M=3.46,SD=1.31)or1

festival(M=4.17,SD=.77).However,nostatisticalsignificancewasfoundbetween

respondentswhowenttotwofestivals(M=4.04,SD=.92)fromrespondentswho

wentto0,1and3ormore(Table21).

40

Table21:MeansandstandarddeviationsoffestivalvisitsinrelationtoWTPHVariable M SD0(n=198) 3.46 1.311(n=41) 4.17 0.772(n=26) 4.04 0.923+(n=24) 4.33 0.76

Festivalattendancewasfoundtocorrelatewitharespondent’slikelihoodtopay

moreforthehostelexperience.Thoserespondentswhodidnotattendafestivalfurther

than50milesawayinthelasttwoyearswereonlywillingtopay$50dollars,while

thosewhowenttoatleastonefestivalwerewillingtopaybetween$60-67dollarsfor

thesameexperience.

PerceptionsofMusicVenueAtmosphere

Toinvestigateresearchquestion1c,Howdoesperceptionofmusicconcert

atmosphererelatetoWTPH?,anANOVAtestwasconductedtotesttherelationship

betweenperceptionsonintimateatmosphereandWTPH.Thesurveyquestion,as

showninAppendixB,hasfiveoptionsofagreement.Thesehavebeencondensedto

Agree,NeitherAgreeorDisagree,orDisagree.

TheLevene’stestwasfoundtobeviolatedF(2,310)=.82,p=.44,therefore

ANOVAisanappropriatetest.Nostatisticallysignificantdifferencewasfoundbetween

importanceofintimateatmosphereandWTPHF(2,310)=.385,p=.681(Table24).

Table24:Means&standarddeviationsofatmosphereinrelationtoWTPH

Variable M SDDisagree(n=62) 3.6 1.36NeitherAgreeorDisagree(n=124) 3.63 1.19Agree(n=127) 3.74 1.2

41

Respondentswhovaluedanintimateatmospherewereonlywillingtopaya

fractionmorethanoneswhodidnot,thereforeitwouldsuggestthatstatinganintimate

atmosphereformarketingpurposeswouldnotaffectthepriceonewouldpayforthe

hostelexperience.

SpendingonConcertTickets

Table18:Means&standarddeviationsofconcertspendinrelationtoWTPHVariable M SD$0(n=82) 3.15 1.48$1-50(n=50) 3.48 1.13$51-100(n=72) 3.81 0.96$101-200(n=47) 3.98 1.07$201-300(n=30) 4.00 1.02$301+(n=36) 4.25 1.08

Basedontherespondents’historyofpurchasingconcerttickets,itisevidentthat

thosewhospentmoreonconcertsannuallywerewillingtopaymoreforthehostel

experience.Therangebeginsataround$43dollarsforrespondentsdidnotspend

anythingonconcertsinthepastyearto$65dollarsforrespondentswhospentmore

than$301dollarsonconcerts.Thissignifiesthathostelsofferingthistypeofexperience

shouldlooktohighspendingconcertgoersforadditionalrevenues.

SpendingonMusicDownloads/Streaming

AnANOVAtestwasusedtotesttherelationshipbetweenrespondentsannual

dollarsspentonmusicdownloadsandstreamingandWTPH.ALevene’stestfor

equalityofvarianceswasfoundtobesignificantF(5,311)=2.61,p=.00.Therefore,a

Welchtestofequalityofmeanswasconducted.Therewasnotasignificanteffect

betweenannualdollarsspentonmusicdownloadsonWillingnesstoPayF(5,40)=

1.981,p=.10(Table19).

42

Table19:Meansandstandarddeviationsofannualdollarsspentonmusic

downloadsinrelationtoWTPHVariable M SD$0(n=68) 3.46 1.35$1-50(n=108) 3.52 1.27$51-100(n=72) 3.94 1.1$101-200(n=52) 3.83 1.06$201-300(n=7) 4.14 0.9$301+(n=10) 3.9 1.29

Asopposedtoannualexpendituresonconcerts,respondentswhopurchased

musicdownloadsorstreamingserviceswerelesslikelytopaymorefortheexperience.

Whiletheseresultsvaried,oncesomeonespentmorethan$51dollarsonmusic

downloadstherewerewillingtopayaround$8dollarsmorefortheexperience

comparedtothosewhospentlessthan$51.Forhostelowners,itmaybeimportantto

advertisetopeoplewhotraditionallyusemusicservicesandwhoarededicatedto

them.AnannualSpotifymembershipintheUSAis$120dollarsayearandforstudents

is$60;Applemusicisalso$120dollarsayear.

AccommodationChoiceatConcerts

AnANOVAtestwasconductedtodeterminetherelationshipbetween

accommodationchoiceatconcertsandWTPH.TheLevene’stestforequalityof

varianceswasfoundtobesignificantF(5,283)=2.25,p=.049,therefore,aWelchtest

wasemployed.Therewasnotasignificanteffectbetweenaccommodationchoiceat

concertsonWTPH:F(5,50)=2.022,p=.09(Table22).

43

Table22:Means&standarddeviationsofconcertaccommodationchoiceinrelationtoWTPH

Variable M SDHotel(n=89) 3.7 1.14Friends,Family(n=84) 3.98 1.11AirBnB,Couchsurfing(n=17) 3.41 1.46Hostels(n=18) 3.72 1.23Camping(n=10) 3.5 1.3NoOvernight(n=71) 3.38 1.22

Accommodationchoiceofrespondentsatconcertsmorethan50milesaway

fromhomevaried.Allrespondentswhostayedovernightwerewillingtopayupwards

of$48dollarsfortheexperience.MostrespondentsstayedateitherHotels,with

FriendsorFamily,ordidnotstayovernight.Peoplewhostayedwithfriendsandfamily

werewillingtopaythemostfortheexperience,around$60dollars.Whilethosewho

stayedatHostelsandHotelswerewillingtopayasimilar$56dollars.

AccommodationChoiceatFestivals

AnANOVAtestwasrantodeterminetherelationshipbetweenaccommodation

choiceatfestivalsandWTPH.ALevene’stestforequalityofvarianceswasfoundtobe

significantF(5,208)=2.36,p=.041.Therefore,aWelchtestofequalityofmeanswas

conducted.Therewasnostatisticalsignificancefoundbetweenaccommodationchoice

atfestivalsonWTPHF(5,74)=1.32,p=.27(Table23).

Table23:Means&standarddeviationsoffestivalaccommodationchoicein

relationtoWTPHVariable M SDHotel(n=45) 3.72 1.03Friends,Family(n=43) 3.67 1.21AirBnB,Couchsurfing(n=16) 3.94 1.12Hostels(n=21) 4.24 0.94Camping(n=28) 3.93 1.1

44

NoOvernight(n=60) 3.63 1.38

Respondentswhostayedovernightatfestivalsweregenerallywillingtopay

morethanconcertattendeesforthehostelexperience.Festivalgoerswhostayedin

hostelswerewillingtopay$65dollars,whichwashighcomparedtotheother

accommodationchoices.Ingeneral,festivalsarealargertimeandfinancial

commitment,whichmayhelpjustifythehigherwillingnesstopayfortheexperience.

Thatbeingsaid,ifhostelschoosetoofferalonger-termseriesofweekendconcerts,they

maybeabletochargeahigherpriceoranall-inclusivepriceforthewholeseries.

PerceptionsonWellness

Researchquestion1frelatedtothebeliefinmusicasameanstowellnessand

therespondents’WTPH.TheLevene’stestforequalityofvarianceswasfoundtobe

significantF(2,310)=3.99,p=.020,therefore,aWelchtestofequalityofmeanswas

conducted,whichshowedastatisticalsignificanceF(2,22)=7.28,p<.05.Posthoc

comparisonsusingtheGames-Howelltestindicatedthatthemeanscoreforthe

respondentswhoagreedthatmusicbenefitedtheirwellbeing(M=3.78,SD=1.14)was

significantlydifferentthanoneswhowenttoneitheragreedordisagreed(M=3.27SD

=1.37)ordisagreed(M=2.18,SD=1.60)(Table25).

Table25:Means&standarddeviationsofwellnessinrelationtoWTPH


45

Over85%ofrespondentsagreedthatmusicbenefittedtheirwellbeing,andthe

rangebetweenpeoplewhodidnotbelievethisversuspeoplewhodidwasvast.Those

whobelieveditdidbenefittheirwell-beingwerewillingtopayaround$56dollarsfor

thehostelexperience,suggestingthatincorporatingwellnessintomarketingwould

helpincreasethepriceandencouragevisitors.

PreferencesonPlayingMusicoverActiveActivities

AnANOVAtestwasusedtodeterminetherelationshipbetweenrespondents

preferencestoplaymusicoverotheractiverecreationalactivitiesandWTPH.Levene’s

testforequalityofvarianceswasfoundtobeviolatedF(2,310)=1.00,p=.37.These

resultsrevealthattherewasnotasignificanteffectofplayingmusicoveractive

recreationalactivitiesonWTPHF(2,310)=.006,p=.99(Table26).

Table26:Means&standarddeviationsofplayoveractiveinrelationtoWTPH


PreferencesonListeningtoMusicoverPassiveActivities

Inordertotesttherelationshipbetweenlisteningtomusicoverpassive

recreationalactivitiestopayforthehostelexperience,aone-wayANOVAtestwas

conducted.ALevene’stestforequalityofvarianceswasfoundtobesignificantF(2,

310)=11.88,p=.000.Therefore,aWelchtestofequalityofmeanswasconducted,

whichshowedstatisticalsignificanceF(2,179)=3.37p<.05.Posthoccomparisons

usingtheGames-Howelltestindicatedthatthemeanscorefortherespondentswho

46

preferredtolistentomusicoverotherrecreationalactivities(M=3.88,SD=.99)was

significantlydifferentthanoneswhodidnotprefertolistentomusicoverotherpassive

activities(M=3.44SD=1.45).However,betweenrespondentswhodidnotpreferand

oneswhowereindifferent(M=3.61,SD=1.26)therewasnostatisticalsignificance.

(Table27)

Table27:Means&standarddeviationsoflistenoverpassiveinrelationtoWTPHVariable M SDDisagree(n=81) 3.44 1.45NeitherAgreeorDisagree(n=112) 3.61 1.26Agree(n=120) 3.88 1.23

PreferencesonAttendingConcertsoverPassiveActivities

Inordertotesttherelationshipbetweenpreferencestoattendamusicconcert

overpassiverecreationalactivitiesandWTPH,aone-wayANOVAtestwasconducted.

Theseresultsareobservedintable27.ALevene’stestforequalityofvarianceswas

foundtobesignificantF(2,310)=10.10,p=.000.Therefore,aWelchtestofequalityof

meanswasconducted.TheseresultsdemonstratedastatisticalsignificanceF(2,179)=

2.94,p<.05.PosthoccomparisonsusingtheGames-Howelltestshowedthatthemean

scorefortherespondentswhopreferredtoattendamusicconcertoverother

recreationalactivities(M=3.85,SD=.1.03)washigherthanoneswhodidnotpreferto

attendaconcertoverotherpassiveactivities(M=3.44SD=1.45).However,between

respondentswhodidnotpreferandoneswhowereindifferent(M=3.62,SD=1.22)

therewasnostatisticalsignificance(Table28).

47

Table28:Means&standarddeviationsofattendoverpassiveinrelationtoWTPH


Whileneitherthreeofthesevariableswerestatisticallysignificant,itis

importanttonotethatrespondentswhowerelikelytoattendconcertsorlistento

musicoverpassiverecreationalactivitieswerewillingtopaymorethanthosewhodid

not.Thesepsychographicquestionssuggestthatmostpeoplewouldbewillingtopay

aroundthesameforthetourismpackagenomattertheirpreferencesonmusic

activities.Withprettyevengroupings,itisevidentthatmanyrespondentsprefer

concertsorlisteningtomusicoveractivities,whiletheoppositeseemstobetruefor

playingmusic,suggestingasmallerbaseofmusiciansintherespondentsample.

SocialWorldsTheory

RespondentsweredividedintoStrangers,Tourists,Regulars,andInsidersbased

ontheirresponsestosixquestionsinthesurvey.Themethodusedtodividethemwas

basedonnaturalbreaksofnearequalsamplesizes,similartothemethodemployedby

Dittonetal(1992).ANOVAwasusedtotesttherelationshipbetweenarespondent’s

SocialWorldsTheorycategorizationandtheirWTPH.Themeansandstandard

deviationsofeachcategoryareobservedintable28.ALevene’stestforequalityof

varianceswasfoundtobesignificantF(3,313)=3.148,p=.03.Therefore,aWelchtest

ofequalityofmeanswasconducted;theresultsshowthattherewasstatistical

significanceF(3,71)=4.50,p<.05.PosthoccomparisonsusingtheGames-Howell

methodshowedthatmeanscoresbetweenstrangers(M=3.24,SD=1.35),regulars(M

48

=3.82,SD=1.14),andinsiders(M=4.04,SD=1.04)werestatisticallysignificant(Table

29).

Table29:Means&standarddeviationsofSocialWorldsTheorycategorizationin

relationtoWTPHVariable M SDStrangers(n=86) 3.24 1.35Tourists(n=83) 3.67 1.2Regulars(n=72) 3.82 1.14Insiders(n=76) 4.04 1.04

Basedontheseresults,wecandeterminethatrespondentsconsideredInsiders

orRegularsaremorewillingtopaymorethantouristsorstrangers.Insiderswouldpay

around$60dollars,wherebyregularswerewillingtopayaround$56.Thisisuseful

whenmarketingahostelwithamusicvenue,becausepeoplewhoarelisteningor

playingmusicfrequently,postingaboutmusiconsocialmediafrequently,orwho

historicallyspendmoneyonconcertticketsorhavetraveledtoconcerts/festivalsare

likelytobeRegularsorInsiders.

DiscussionImplicationsforHosteliers

Currenttrendsinhostelshaveveeredtowardaddingamenities,suchaswith

Poshtels,togivetravelersahotel-likeexperience(Trejos,2016).Whilefewhostelshave

theirownattachedmusicvenuethatprogramslivemusic,thestudyrevealsthatthere

isamarketforthisbundledtourismproduct,withthissegmentbeingwillingtopay

around$54pernight.Formosthostels,thisishigherthanthenormalcostofadorm

beddependingonthelocation(Hostelworld,2017).Hostelswithabarorattached

loungespacemaywanttoconsiderprogramminglivemusicintotheiramenities,and

49

markettheirhostelswiththisinmind.Hostelsinthrivingmusicdestinationslike

Melbourne,Australia,Nashville,Tennessee,andNewOrleans,Louisiana,arelikelyto

haveincreasedvisibilityfortheirmusicscenesandcouldutilizethissceneintheir

development.Musicenthusiastsseemtobewillingtopaymoreforanexperience

wheretheyseeaconcert,haveabednear,andgettobondwithotherswholikethe

samemusic/artist.Considerationsforahostelwantingtoimplementthisstrategy

include:regulations,location,andbranding.Noiseordinancesandregulations

regardinglatenightmusicareimportanttovenues.Ingeneral,noisecanbeafactorthat

detersguestsfromhavingasatisfactorystayordisturbsnearbyresidencesor

businesses.Themusicvenuecomponentofahostelshouldbeafocalpointofmarketing

materialsonahostelsownwebsite,onreviewsitessuchasTripAdvisor,andevenon

ticketingsitesformusicconcerts.

Locationisanotherimportantaspect.Thesiteforahostelwithamusicvenue

shouldbecarefullyselected,suchasbeinginathrivingdowntownlocation,nearother

musicvenues,orinanaccessibleplace.Again,noiseordinancesmayalsoplayarolein

locationselection.Packagingreferstohowahostelpositionsorbrandsthemselvesasa

musicvenueandaccommodation.Nomatterwhichmarketsahostelistargeting,the

musicexperienceshouldbeadefiningcharacteristic.Thiswillhelpdifferentiatethe

productfromcompetitors,bringinhostel-goerswhowantauniqueexperience,and

concertattendeeswhotypicallywouldstaywiththeirfriendsoratahotel.Hosteliers

withtheabilitytoincorporateamusicvenueshouldfindtheseresultshelpful,as317

respondentsofthe328wereinterestedintheproduct.

50

Finally,whilethestudyresultsprovidepreliminaryinformationregarding

WTPH,hosteliersmustdotheirduediligenceregardingfinancialplanningand

specificallybalancingrevenueswithexpenses.Addingamusicvenuetoahostelora

hosteltoamusicvenuewouldrequireconsiderablecapital,buttheresultsfromthis

studyofferinsightintopotentialrevenuegainedwhichcanbeleveragedwithin

financialplanningscenarios.

ImplicationsforAcademia

InconjunctionwithSocialWorldsTheory,thisstudyfoundthatInsidersand

Regularswerewillingtopaymoreforahostel-musicexperiencethanTouristsand

Strangers.Essentially,aperson’scommitment,orientation,experiences,and

relationshipscandefinewhatsectorofasocialworldtheyfallunder,whichinturn

shapesmusiccommunities.Themoreinvolvedarespondentwasinthesocialworld,

themoretheywerecategorizedasRegularsorInsiders,similartoDittonetal(1992).

Thisstudyadditionallycorroboratedwhattheliteraturereviewfoundabout

millennialstourismchoices–theywanttohaveuniqueexperiences(Benckendorffetal,

2010).Packagingasafactorfortourismaccommodationmarketshareisalso

supportedbythisstudy,aspairinglodgingwithexperienceswasidentifiedby

Kandampully(2000).

Limitations

Whilethisstudyprofiledthreedifferentnationalities,obtaining328surveys

aboutmillennialsWTPH,therearecertainlimitations.Togetamoreglobalsample,the

51

surveycouldhavebeenadministeredinothercountries,specificallyonesofnon-

Englishorigin.Asidentifiedthroughoutthestudy,millennialsweredefinedaspeople

bornbetween1982-2000,whichencompassespeopleaged16-34asof2017.Ifthe

entireagegroupwereincluded,thestudymayhavefounddifferentconclusionsthan

thesmallersampleof18-29yearolds.

Limitationswiththesurveyinstrumentregardingthefrequencyofgoingto

concertsandfestivals;theresponseoptionsincludedlessthanone,one,threetofour,

ormorethanfour.Thisexcludestheoptionoftwoconcertsorfestivalsattended.

Furthermore,respondentsmaynothavedefined“concerts”thesameway;somemay

haveseenlivemusicperformedatapubvs.attendingaconcertinapark.Inthefuture,

definingtheexactcriteriaforaconcertentailswillprovidemorepreciseresults.

Respondentswerealsoaskedhowmuchtheyspentonconcerttickets,butnotwhat

theyspentatconcertsforitemslikeconcessionsormerchandise,whichcouldhave

givenabroaderscopeofexpenditureswhengoingtoaconcert.

Finally,thedegreefieldormajorofallrespondents,andnotjustthoseinthe

UnitedState–AppalachianStateUniversitysamplecouldhaveprovidedfurther

informationonwhichfieldstomarkettoifdifferencesexist.

FurtherResearch

Ashostelsbecomemorepopular,itispossibletoimaginethisnichemarketgrowing

inmajorcitieswhichhavemanymusicvenues,andinwhichtheycandifferentiate

themselvesfromatypicalconcerthallormusicclub.Thereareopportunitiesforfuture

researchbasedonthefindingsofthisstudy.Afewoftheseare:

52

• Investigatewhethermillennialsarethemainmarketforthistypeof

establishment,comparingthemwithothergenerations,

• Studythegenresofmusicfavoredbyhostelpatronsbasedongeographicregion,

• Replicatethestudywithinadditionalgeographicalandculturalcontexts,

• Investigatetheuseofhostelswhenattendingaspecificmusicfestival(suchas

SouthbySouthwestinAustin,Texas),

• Investigatespecificlocationsforhostelsandifpeoplearewillingtopaymore

basedonthedestination,

• StudywhetherselfidentityasamusicianisafactorinWTPH,andhowthat

relatestoSocialWorldsTheory

• Conductqualitativeresearchonthemostappealingfactorswhenchoosinga

music-hostelexperience,and

• Assumingthatmostvenueswouldhavemoreticketsthanbedsinthehostel,

studyhowpartnershipswithotheraccommodations/hostelsaffectsperceptions

forguests.

Conclusion

Thisstudysetouttoidentifymarketsforahostel-musicexperiencebasedon

SocialWorldsTheory.Itwasidentifiedthatpeoplewhoaremusicenthusiasts,havea

historyoftravelingtoconcertsorfestivals,thatlistentoorplaymusicfrequently,and

postaboutmusiconsocialmediaarefactorsthatcontributetotheircategorizationin

SocialWorldsTheory.Ultimately,thestudyfound317ofthe328respondentswere

interestedintheproduct,andthatInsidersandRegularswerewillingtopaymorethan

theaveragepriceforahostel-musicexperience.Whilelittleacademicresearchexistson

53

hostelsasawhole,thisstudyhasexposedapotentialnichemarketforhostelsand

musicvenues.

Furtheracademicresearchshouldbeundertakentodetermineifother

generationsbesidesmillennialswouldpurchasethisexperience,howmusicis

implementedanditssuccessinhostels,andthefeaturesthathostel-goersvalue.Hostels

wishingtoaddamusiccomponentshouldconsiderthecost-benefitofdoingso,and

howthisdifferentiatesthemfromatypicalhostel.Musictravelersareengaginginmusic

tourismthroughuniqueexperiences,andmanyhostelshaveunrealizedresourcesto

providethese.Asthesharingeconomyandexperiential-basedtourismincreases,

hostelsmustfindnewwaystogoaboveandbeyondanaffordablenightsstay.Hostels

withmusicvenuesaddressesthisneedanddeliversanewmusictourismproductthat

maydrivemillennialsandmusicenthusiaststotraveltoadestination.

54

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AppendixATo: Richard Bergman Management 3149 NC Hwy 105 S unit A CAMPUS EMAIL From: Monica Molina, IRB Associate Administrator Date: 6/01/2016 RE: Notice of IRB Exemption STUDY #: 16-0279 STUDY TITLE: The Market for Music: Consumer Perception of Hostels with Music Venues Exemption Category: (2) Anonymous Educational Tests; Surveys, Interviews or Observations This study involves minimal risk and meets the exemption category cited above. In accordance with 45 CFR 46.101(b) and University policy and procedures, the research activities described in the study materials are exempt from further IRB review. Study Change: Proposed changes to the study require further IRB review when the change involves:

• an external funding source, • the potential for a conflict of interest, • a change in location of the research (i.e., country, school system, off site location), • the contact information for the Principal Investigator, • the addition of non-Appalachian State University faculty, staff, or students to the research team, or • the basis for the determination of exemption. Standard Operating Procedure #9 cites examples of

changes which affect the basis of the determination of exemption on page 3.

Investigator Responsibilities: All individuals engaged in research with human participants are responsible for compliance with University policies and procedures, and IRB determinations. The Principal Investigator (PI), or Faculty Advisor if the PI is a student, is ultimately responsible for ensuring the protection of research participants; conducting sound ethical research that complies with federal regulations, University policy and procedures; and maintaining study records. The PI should review the IRB's list of PI responsibilities.

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AppendixB

Thankyouforagreeingtocompletethissurvey.Thesurveyisdesignedtoassessthemarketdemandforahostelandmusiceventpackage.Wealsowanttolearnmoreaboutyourmusicalinvolvementandhowthatrelatestoyourperceptionofmusiccommunities,musicconcerts,andmusicfestivals.Weaskthatyourespondtothequestionsashonestlyaspossible.Allresponseswillremainanonymous.Thesurveyshouldtakeapproximately15minutesofyourtime.Ifyouhaveanyquestionsconcerningtheresearchstudy,pleasecontactRJBergmanatbergmanre@appstate.edu.Thankyouinadvancefortakingthetimetoshareyourinsightswithus!Whatisyourgender?

1. Male2. Female3. Iprefernottoanswer

Whatisthehighestlevelofeducationcompleted?

1. Didnotattendschool2. PrimaryEducation3. SecondaryEducation4. SomeCollege5. AssociatesDegree/TradeSchool/Apprenticeship6. BachelorsDegree7. MastersDegree8. Doctorate

Whatisyourage?

1. 182. 193. 204. 215. 226. 237. 248. 259. 2610. 2711. 2812. 29

Doyouhaveapassport?

1. Yes

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2. NoWhatbestdescribesyourworkstatus?Checkallthatapply.

1. Full-timestudent2. Part-timestudent3. Full-timework4. Part-timework5. Noneoftheabove

Doyouconsideryourselfamusicenthusiast?(Someonewhofeelsenthusiasmformusic?)

1. Yes2. Somewhat3. No

Howoftendoyoulistentomusic?

1. Idon’treallylistentomusic2. Ilisten,butverylittle3. Ilistenoccasionally4. Ilistenroutinely5. Iamalmostalwayslisteningtomusic

Howoftendoyouplaymusicinstruments?

1. Idon’tplaymusic2. Iplay,butverylittle3. Iplayoccasionally4. Iplayroutinely5. Iamalmostalwaysplayingmusic

Whatareyourfavoritemusicgenres?Pleaseselectupto3

1. Alternative2. Blues3. Classical/Opera4. Country5. Dance6. Electronic7. Hip-Hop/Rap8. Holiday9. Religious10. Jazz11. Latin12. NewAge13. Pop14. R&B/Soul15. Reggae16. Rock

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17. Singer/Songwriter/Folk18. WorldMusic19. Other(pleasespecify)

Howoftendoyougotoamusicalconcert?(Apublicmusicperformanceinwhichanumberofsingersorinstrumentalists,orboth,participate)

1. Never2. Lessthanonceayear3. Aboutonceayear4. Threetofourtimesayear5. Morethanfourtimesayear

Withinthelast2yearshowmanytimeshaveyoutravelledmorethan50milestoseeamusicalconcert?

1. [OpenEnded]Ifyoudidtravelmorethan50milestoseeaconcert,wheredidyoustay?

1. FriendsorRelatives2. Hotel/Resort/Motel3. AirBnB,Couchsurfing,etc4. Hostels/Backpackers5. Itypicallydon’tstayovernight6. Other(pleasespecify)

Ifyouhavenottravelledmorethan50milestoseeaconcert,whynot?

1. [OpenEnded]Howoftendoyougotoamusicalfestival?(anentertainmenteventfeaturinganumberofmusicalperformersorbandsofacertaingenreorcenteredonatheme)

1. Never2. Lessthanonceayear3. Aboutonceayear4. Threetofourtimesayear5. Morethanfourtimesayear

Withinthelast2yearshowmanytimeshaveyoutravelledmorethan50milestoseeamusicalfestival?

1. [OpenEnded]Ifyoudidtravelmorethan50milestoseeafestival,wheredidyoustay?

1. FriendsorRelatives2. Hotel/Resort/Motel3. AirBnB,Couchsurfing,etc4. Hostels/Backpackers5. Itypicallydon’tstayovernight

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6. Other(pleasespecify)Ifyouhavenottravelledmorethan50milestoseeafestival,whynot?

1. [OpenEnded]Pleasereadthefollowingscenario.Howmuchareyouwillingtopayforonenightandaconcertticket?Ahostelinamajorcityisopeningupthatprovidesfreebreakfast,wi-fi,loungespaces,localevents,andaclean,decoratedestablishment.Thishosteloffersfemaleandmixeddormitoriesaswellasprivaterooms.Thishostelhasamusicloungeattachedtoitwhichhostsliveconcertsalmosteverynight.Local,regional,andoccasionallynationalactsplayatthevenue.Asaguest,youarealreadyonthepremisesandhavetheopportunitytochatwithandmeetmostartistsbeforeoraftertheirshow.Theseconcertsareincludedintheroompriceandareadvertisedinthebookingtoencourageotherfanstostayinthehostelaswell.Howmuchonaveragewouldyoubewillingtopayforonenightandaconcertticket?

1. $202. $403. $604. $805. Iwouldnotbeinterestedinthisproduct6. Other(pleasespecify)

Howmuchmoneydoyouspendonmusicdownloads,purchasingCD’s,subscriptionstoSpotify,etc.eachyear?

1. [OpenEnded]Howmuchmoneydoyouspendonconcertticketseachyear?

1. [OpenEnded]Howoftendoyoupostaboutmusiconsocialmedia(Facebook,Instagram,Twitter,Snapchat,etc.)?Pleaseindicatehowoftenyoupostaboutthefollowing.(5options:Never,Afewtimesayear,Aboutonceamonth,Aboutonceaweek,Daily)Playingmusicalinstruments/singingListeningtomusicPerforming,producing,recording,oreditingmusicAttendingaconcertorfestival

65

LikertScaleQuestions(5optionsavailable,StronglyDisagree,Disagree,NeitherAgreeorDisagree,Agree,andStronglyAgree)AconcertcanbeenjoyableevenifI'veneverheardoftheartistsAconcertcanbeenjoyableevenifIdon'tmeettheartists

AconcertcanbeenjoyableevenifIamnotatthefrontofthecrowdAconcertcanbeenjoyableevenifIdon'tbuybandmerchandiseIgotomusicconcertsinordertolearnaboutthemusic

IgotomusicconcertsinordertonetworkwithmusiciansAnintimateatmosphereofaconcertisimportanttome

Iprefertoattendaconcertfeaturing3artists/bandsorlessWhenItravelIaminterestedinseeingabandthatidentifiesaspartofthelocalculture.Ibelievethatlisteningtomusicbenefitsmywellbeing.IwouldprefertolistentomusicoverotherpassiverecreationalactivitiesIwouldprefertoattendamusicconcertorfestivaloverotherpassiverecreationalactivitiesoutsideoutsideyourhomeIwouldprefertoplaymusicorsingoverotheractiverecreationalactivities

Whatfactorsmightinfluenceyoutochoosemusic-relatedactivitiesoverothers(non-music-relatedactivities)?

1. [OpenEnded]

the market for music: millennials willingness to pay … richard august 2017 thesis.… ·...

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