Compare and contrast the relationship that Millennials music consumers have with physical music collections and music streaming services.
\nDo Millenials have the same relationship with their curated physical music collections as they do with music curated using streaming services?
\nBased on existing literature, collectors feel very strongly about their physical possessions even at a time where artefacts tend to become digital. I want to see how music lovers from the generational cohort referred to as ’Millennials ’ relate to the music they stream in comparison to how they relate to their music collected in physical storage (CDs, vinyls, etc.). I want to collect data to compare usage (frequency and context), persistence (listening patterns or preference over time, discovery and sharing habits), curation (organisational structure/playlists and personal signification).
\nMy goal is to get an understanding of the Millennials overall interaction with both ways of accessing music, which in turn will clarify if technology can bridge any existing gap left by moving possessions away from the physical world.
\nMultiple studies (Golstein, Van Den Hoven, Frolich and Sellen (2012); Csikszentmihalyi and Rochberg-halton (1981); Kirk and Sellen (2010); Odom et al. (2009)) have investigated the different explanations behind the physical collections of a household. In the context of their research, they approached members of a family to explore the emotional relationships with their prized possessions and the transition towards the digital world.
\nThis wealth of research relevant to digital items taking more presence in the everyday life of consumers (eBooks, music, digital photographs, movies) offers very little insight from the point of view of a generation that grew up with both options. Odom and Forlizzi (2011) did more recently observe teenagers and their emotional attachment to digital artefacts, which is closer to what I propose to do in the context of my own research study. As mentioned in Vlachos and Vrechopoulos’ Emerging Customer Trends Towards Mobile Music Services: “While the demand for music products and services seems to be quite strong, on the other hand there is a slump (both in revenues and units) in the sales of the traditional vehicle for experiencing music - that is music CDs.”(2004). This article is over 15 years old but it still applies today. While technology might be a boon on certain levels, such as convenience and affordability, it might still lack in terms of persistence and emotional value.
\nGrowing up with the option to listen to their parents’ vinyls and build their own collection of CDs, Millennials might interact differently and value digital music accessible via streaming services in a different light. I aim to investigate the usage, the persistence and the curation habits of an intangible version of an offline, physical collection – and see if they are equivalent in the eyes of the participants.
\nProposed research schedule
\nUsing methodological triangulation to draw data from different sources at different times using a variety of data gathering techniques. While it might not be possible to achieve true triangulation, this approach might permit different insights from the data analysis that ensues.
\nA pilot study will be conducted with a limited number of participants (likely peers) as a trial to ensure the methods are viable. The pilot study participants will not be involved in the main study of course.
\nA survey will be presented to any participants answering the call to action. The survey will take approximatively 5 to 10 minutes to complete. The survey will be submitted anonymously, however at the end of the that survey, an option to participate further will be given and give authorisation to contact for a follow up interview or in a focus group.
\nThe focus of the survey will be to gather data to obtain initial insight and identify participants for an interview, which will allow more qualitative data gathering. I will also identify which participants use the streaming service Spotify, for which prior to the interview, I will request streaming history records. Accessing this data can take up to 30 days but can be obtained in reality within a week, so I will take this time constraint in consideration. I will provide guidelines to assist the participants with the data retrieval process.
\nThe data obtained from Spotify will be analysed for trends in usage and persistence.\nThe interview will be semi-structured and punctuated by open-ended questions. It will be recorded to facilitate the analysis of data. The interview will last about 30 minutes and will be done virtually
\nTL;DR
\nSurvey
\nA questionnaire survey will be presented to any participants answering the call to action. The questionnaire survey will take approximatively 5 to 7 minutes to complete.
Semi-structured interviews
\nI will build on the existing data gathered during the questionnaire survey by conducting semi-structured interviews.
I will have a basic script and cover the same key elements with all interviewees. I will rely on probes and prompts to get more elaborated information.
\nThe interviews will be recorded (audio and video). The interviewees will not be anonymous at the time of recording. The data issued from the study will however be anonymised.
\nThe limitation of this method: online conversation; limited view of body language
\nSpotify Data Analysis
\nI aim for a confidence rating of 80%.
\nThe participants fall into the group of Millenials (born between 1980 and 2000). As they are over the ages of 18 years and under 65 years old, they are not considered vulnerable in terms of their group. The participants are music lovers who own music in a physical format (Cds, vinyls, etc.) and use music streaming services as well.
\nLimitations:\nMore than one streaming service exists.
\nThere will be no deception in the context of this research study.
\nTo do something interesting.
\nWhat arrangements you will make to protect anonymity and maintain confidentiality?
Participants can opt to be informed when the research study is published and they will be given contact details to reach out the researcher.
\nThe named researchers are the only ones to have access to the data.
\nThe data and recordings will be stored exclusively in security-encrypted computers. USB keys will not be used. When files are being shared, it will be through DCU Gmail in password protected files, with a phone call made to supply to password separately. Computers are secured by encryption. The named researchers have exclusive access to those computers.
\nThe documents and recordings containing participants’ information details will be destroyed after one years. Electronic data will be erased by the investigators. Only the anonymized data set will be kept for future study.
\nBibliography
\nUnordered - to be cleaned up
\nSharp, Helen, et al. Interaction Design : Beyond Human-Computer Interaction, John Wiley & Sons, Incorporated, 2019. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/dcu/detail.action?docID=5746446.\nCreated from dcu on 2020-11-08 08:01:50.
\nCaine, K. (2016). Local Standards for Sample Size at CHI. Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems, 981–992. https://doi.org/10.1145/2858036.2858498 (7 November 2020)
\nVlachos, P., & Vrechopoulos, A. (2004). Emerging Customer Trends Towards Mobile Music Services. www.mad.gr (Accessed 2 November 2020)
\nBell, J, & Waters, S (2014), Doing Your Research Project : A Guide For First-Time Researchers, McGraw-Hill Education, Milton Keynes. Available from: ProQuest Ebook Central. (2 November 2020).
\nCaine, K. (2016). Local Standards for Sample Size at CHI. Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems, 981–992. https://doi.org/10.1145/2858036.2858498 (2 November 2020)
\nGolsteijn, C., Van Den Hoven, E., Frohlich, D., & Sellen, A. (2012). Towards a more cherishable digital object. Proceedings of the Designing Interactive Systems Conference, DIS ’12, 655–664. https://doi.org/10.1145/2317956.2318054 (Access 2 November 2020)
\nCsikszentmihalyi, M. & Rochberg-halton, E. (1981) The Meaning of Things: Domestic Symbols and the Self. Cambridge: Cambridge University Press. (n.d.)
\nJung, H., et al. How Deep Is Your Love: Deep Narratives of Ensoulment and Heirloom Status.International Journal of Design 5, 1 (2011), 59-71.
\nKirk, D.S. and Sellen, A. On human remains: Values and practice in the home archiving of cherished objects.ACM Transactions on Computer-Human Interaction 17, 3 (2010), 1-43.
\nOdom, W., et al. Understanding why we preserve some things and discard others in the context of interaction design. In Proc. CHI 2009, ACM Press (2009), 1053-1062.
\nOdom, W., Zimmerman, J., and Forlizzi, J. Teenagers and their virtual possessions: design opportunities and issues. In Proc. CHI 2011, ACM Press (2011), 1491-1500.
\nPetrelli, D. and Whittaker, S. Family memories in the home: contrasting physical and digital mementos.Personal Ubiquitous Computing 14, 2 (2010), 153-169.
\nPetrelli, D., Whittaker, S., and Brockmeier, J. AutoTopography: what can physical mementos tell us about digital memories? In Proc. CHI 2008, ACM Press (2008), 53-62.
\nMäntymäki, M., & Islam, A. K. M. N. (2015). Gratifications from using freemium music streaming services: Differences between basic and premium users.
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\nWirfs-Brock, J., Mennicken, S., & Thom, J. (2020, April 21). Giving Voice to Silent Data: Designing with Personal Music Listening History. Conference on Human Factors in Computing Systems - Proceedings. https://doi.org/10.1145/3313831.3376493\n.
\nNg, J., & Yew, J. (2017). Why download when you can stream? The experience of collecting music in the streaming age. ACM International Conference Proceeding Series, Part F129310, 28–33. https://doi.org/10.1145/3077343.3077346
\nKleine, S., Baker, S. 2004. An Integrative Review of Material Possession Attachment. Academy of Marketing Science Review. 1-39.
\nMiller, D. 1987. Material Culture and Mass Consumption, New York: Blackwell.
\nBrown, B. and Sellen, A. Sharing and Listening to Music. In K. O’Hara and B. Brown, eds., Consuming Music Together: Social and Collaborative Aspects of Music Consumption Technologies. Springer-Verlag, Berlin/Heidelberg, 2006, 37–56.
\nGreengard, S. Digitally possessed. Communications of the ACM 55, 5 (2012), 14–16
\nOdom, W., Zimmerman, J., and Forlizzi, J. Virtual Possessions. (2010), 368–371.
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