Veronique Savard - HSA Journal 2020/2021

Bibliography

veronique.savard2@mail.dcu.ie — Fri, 23 Apr 2021 00:00:00 GMT

Bibliography

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Infographic with Canva

veronique.savard2@mail.dcu.ie — Mon, 19 Apr 2021 00:00:00 GMT

Infographic

Purpose

Deliver a message using visuals
Present information clearly
Break down the narrative of the research process
Demonstrate results (or some of the most relevant results)

Tools available

Canva
Venngage (https://venngage.com/blog/6-comparison-infographic-templates/)

References

Exisiting infographic made by Paula Lehane https://www.dcu.ie/sites/default/files/carpe/moving_to_pass_fail_assignments_infographic.pdf
Advice from DoctoralWriting https://doctoralwriting.wordpress.com/2018/12/10/using-infographics-to-communicate-your-research/

Design with your target audience in mind. Think about their existing knowledge and how you can appeal to that and extend it. Try and keep your poster word count between 200 and 300 words. Short sentences and engaging visuals keep them interested.

Writing Centre Takeaways

veronique.savard2@mail.dcu.ie — Thu, 15 Apr 2021 00:00:00 GMT

DCU Writing Centre experience

I presented the abstract along with the Discussion section of the dissertation.

Paula (an amazing adviser) broke down the way to distribute the word count within the section. She also gave me insight how to better link the findings, ensure it was clear that they came from the research data, AND link those with the literature previously explored.

Takeaways

Include more references and express findings in tandem
Balance the paragraphs
Be more direct in the way that I make associations and draw correlations/conclusions

Catch up with Rosarie

veronique.savard2@mail.dcu.ie — Wed, 14 Apr 2021 00:00:00 GMT

Meeting with Rosarie

I presented the second version of my dissertation draft.
I reviewed the work done on the introduction, the methodology and the appendices.
I clarified how to present the survey trends as part of the dissertation appendices, I also confirmed the best way to present image files on Word. I include with the images a link to the Google Drive repository to enable viewers access to a better resolution.

Working on the dissertation

veronique.savard2@mail.dcu.ie — Sat, 10 Apr 2021 00:00:00 GMT

Dissertation is coming along!

The finishing line is in sight!

I have made multiple changes to my draft following the input of my supervisor and I have managed to secure an appointment with the writing centre later on this week.

At this point, I am starting to put together the final assignment and it is extremely encouraging to see it take form. While I feel I still have a lot to do, looking back at the work accomplished in the last month and putting together the notes for the journal shows there's been a steady effort.

I will be revising the abstract and the methodology over the weekend. The next step will be to prepare the appendices and ensure I respect the overall word count.

Meeting with Rosarie

veronique.savard2@mail.dcu.ie — Tue, 06 Apr 2021 00:00:00 GMT

Meeting with Rosarie

I updated the thematic maps I was working on. I used LucidChart to ensure the content is legible and easy to understand. There are two thematic maps, one for each global theme identified.
I completed a fully fleshed draft of the dissertation but I feel a bit overwhelmed. I am reviewing different online resources to find tips and tricks how to tackle the task; it turns out there are a few ways of writing dissertations.
I have access to PowerBI and I am exploring ways of visualising the data extracted from the survey. This data was helpful in selecting the participants for the interviews.
I have revisited the literature review and the introduction.

TO DO:

Preparing the actual document (appendices, cleaning up extracts from the interviews…)
Drawing parallels from the survey

Thematic Analysis using Visualisations

veronique.savard2@mail.dcu.ie — Sat, 27 Mar 2021 00:00:00 GMT

Thematic analysis using visualisations

Over the past few weeks, I have learned to use LucidChart, a very powerful visualisation tool. I used differents charts as well to help me figure out how to visualize my data, it took me a little while.

I did find insights relevant to only one or two interview but I try to bring them as a nice contrast to the expressed thoughts or opinions of the majority.

Regarding the dissertation, I have been trying to put on paper a 'stream of consciousness' while looking over the thematic maps; my goal is to piece together what I have then into a palatable narrative, however I still feel like I am putting together the building blocks.

Reviewing Themes and working on the dissertation

veronique.savard2@mail.dcu.ie — Fri, 19 Mar 2021 00:00:00 GMT

Global Themes

I finished reviewing and reorganising my themes after going over my codes again. While the maps look huge at first glance, I highlighted the main themes with distinct colors and kept details to help me structure the flow of the dissertation. Moreover, I started writing about the themes identified to make sense of the data and define the global themes accordingly.

I am now working on the dissertation draft (finally!) and I have listed the questions raised during my literature review to see if I can answer most, if not all of them in the process.

Fortunately, I will meet my supervisor on Monday to receive feedback on the work completed thus far and make sure I continue in the right direction.

Thematic Analysis

veronique.savard2@mail.dcu.ie — Mon, 15 Mar 2021 00:00:00 GMT

Progress so far

Based on the codes I've listed during my first pass over the transcripts, I am currently abstracting themes and going through the focused coding step (or axial coding step). Once that is finished, I will be assembling the different themes identified in thematic networks. Some themes emerged that I didn't expect, which is great, and I am eager to structure them in distinct categories to get a better idea of the body of my dissertation. I am trying to list all decisions and codes in a clear way to be able to keep a consistent approach and access the relevant transcripts segments easily.

Catchup with Rosarie

veronique.savard2@mail.dcu.ie — Mon, 08 Mar 2021 00:00:00 GMT

Quite a few questions for my supervisor this time

Literature review (any comments?) Transcripts and coding, emerging themes ( axial coding step) Skeleton for dissertation draft How to approach the methodology and the survey How to present transcripts and appendices (i.e survey questions, interview questions, codes, thematic schemas) ---> go back once the dissertation is underway

Compare and contrast how Millennial music enthusiasts relate to physical music collections (CDs, vinyl records, etc.) and music streaming services.

Preparing the dissertation draft

Telling a story based on what was found from the interviews and the survey

Going over the themes and further refining them

Curating music collection
- Where to find the music
- Music selection process
- Limitations (physical space and cost)
The intangible values of music
- Cognitive value (emotional connection, listening to music as a standalone activity, music as a background noise)
- Social value (self-presentation, sharing music, live events)
Convenience as the overarching priority across all aspects
- Reliability
- Practicality (immediacy)

First Dissertation Draft -- or rather, skeleton

veronique.savard2@mail.dcu.ie — Mon, 01 Mar 2021 00:00:00 GMT

I am currently at the stage of coding and analysis the data. I have identified general themes, but I expect to go to finish the coding before moving on to the dissertation proper. I have gone over the transcripts only twice yet.

Dissertation Skeleton

Title page

Abstract (summary) 400 words

Overview of the research
Methods used
Results, findings and takeaways
State your conclusions and interpretation

Table of contents

Introduction
Research topic + context
Scope of the research
Show the research relevance
Clearly state your research questions and objectives
Structure of the report clearly outlined

Literature review
see draft literature review document (lit review done 90 % done, second draft) (external link given to supervisor for review)

Methodology

Submitted proposal and received approval from DCU Ethics Committee
Planned the qualitative research, inductive analysis approach; thematic content analysis
Anonymous survey first submitted across LinkedIn, Whatsapp groups and Facebook Music groups
Using Qualtrics to set up survey; 2 surveys needed to record anonymous answers and email addresses for further participation
Selection of sample for further interviews based on survey data
Semi-structured interviews with 7 participants who agreed to be contacted and advised they were Millennials
Limitations: time window to gather responses as interviews needed planning; self-disclosed age of participants; no incentive given to respondants; conversations conducted during the interviews might not have the exact same questions; focus only on Spotify to narrow down the sample of participants to interviews for comparison basis
Obstacles

Presentation and analysis of data

THEMES IDENTIFIED
Presentation using mind maps, extracts from the interviews (under pseudonym)
Logical structure and flow
Conclusions drawn from the data
Draw parallels from data of the survey and the interview if possible, identify trends

Discussion

Key elements identified
Implications: what do the results actually mean?
What are/were the limitations
Explanation of unexpected results
Link to existing literature or knowledge

Conclusion

Clear expression of what the research study has intended to do and has contributed
Thoughts towards the future and further research possible

References

Refer to bibliography document --> TO DO final clean up

Appendices

Transcripts of interviews
Survey & interviews questions
Mind maps /thematic network

TO BE DETERMINED: Do I need anything further from the survey?

Interview transcripts, continued

veronique.savard2@mail.dcu.ie — Fri, 26 Feb 2021 00:00:00 GMT

Transcription of the remaining interviews

The transcription is going slowly but smoothly. Most of the interviews have been transcribed already and I am revisiting them to confirm I didn't omit anything or over-corrected.

To transcribe means to transform, to change from one form to another. Attempts at verbatim interview transcriptions produce hybrids, artificial constructs that may be adequate for neither the lived oral conversation nor the formal style of written texts. Transcriptions are translations from an oral language to a written language; what is said in the hermeneutical tradition of translators also pertains to transcribers: traduire traittori – translators are traitors.

Computer programs facilitate the analysis of interview transcripts. They replace the time-demanding ‘cut-and-paste’ approach to hundreds of pages of transcripts with ‘electronic scissors’. The programs are aids for structuring the interview material for further analysis; the task and the responsibility of interpretation remain with the researcher.

The reliability of transcription may be improved by securing the quality of the sound recording and by providing clear instructions for the mode of transcription.

No valid transcription of an oral account exists, but a variety of forms of transcribing, which will be valid for different uses of the transcripts.

Source: Kvale, S. (2007) Transcribing Interviews. In: Doing Interviews, Qualitative Research Kit. London: SAGE Publications, Ltd pp. 93-100. Available at: http://www.doi.org/10.4135/9781849208963 (Accessed 25 February 2021)

Transcription and continued analysis

veronique.savard2@mail.dcu.ie — Sun, 21 Feb 2021 00:00:00 GMT

Transcription

Using Otter.ai
Half of the interviews done already

The transcription and first read have been time-consuming but fascinating; in the context of semi-structured interviews, the participants have shown different patterns of conversation which have kept me on my toes.

Twelve tips for conducting qualitative research interviews

Tip 1, Identify when qualitative research interviews are appropriate
Tip 2, Prepare yourself as an interviewer -Tip 3, Construct an interview guide and test your questions
Tip 4, Consider cultural and power dimensions of the interview situation
Tip 5 Build rapport with your respondents
Tip 6, Remember you are a co-creator of the data
Tip 7, Talk less and listen more
Tip 8, Allow yourself to adjust the interview guide
Tip 9, Be prepared to handle unanticipated emotions -Tip 10, Transcribe the interviews in good time
Tip 11, Check the data
Tip 12, Initiate analysis early

Source: McGrath, C., Palmgren, P. J. and Liljedahl, M. (2019). Twelve tips for conducting qualitative research interviews. Medical Teacher, 41(9), 1002–1006. Available at: https://doi.org/10.1080/0142159X.2018.1497149 (Accessed: 5 November 2020)

Coding and start of thematic analysis

veronique.savard2@mail.dcu.ie — Fri, 19 Feb 2021 00:00:00 GMT

Thematic analysis

My plan for the upcoming week is to finish the first round of data coding across interviews and revisit my literature review before continuing with the data analysis. I am not there yet, but I also hope to support trends found within my interviews with the qualitative data extracted from my initial survey.

Attride-Stirling, J. (2001) ‘Thematic networks: An analytic tool for qualitative research’. Qualitative Research, 1(3), 385-405.

Barbour, R.(2014) Analysis: Processing, Coding and Interrogating Data. In: Introducing Qualitative Research: A Student’s Guide, Second Edition ed. 55 City Road, London: SAGE Publications, Inc. pp. 255-274. Available at: http://www.doi.org/10.4135/9781526485045 (Accessed: 21 March 2021)

Braun, V. and Clarke, V. (2006) Using thematic analysis in psychology. Qualitative Research in Psychology, 3(2), pp.77–101. Available at: https://doi.org/10.1191/1478088706qp063oa (Accessed: 2 November 2020)

Fereday, J. and Muir-Cochrane, E. (2006) Demonstrating rigor using thematic analysis: A hybrid approach of inductive and deductive coding and theme development. International Journal of Qualitative Methods, 5(1), 1-11

Fifth meeting with my supervisor

veronique.savard2@mail.dcu.ie — Fri, 19 Feb 2021 00:00:00 GMT

Literature review updated (Draft FEB 2021, ongoing) Interviews transcription → do I keep all interviews, including the pilot and the interview where the participants went on and on Qualitative analysis of the survey to support the interview, how to approach it Report on trends in the survey Review the detailed comments Go back and forth between survey findings supporting interview data

→ reach out to Sephen for past papers with combo interview/survey (qualitative)

To do:

Upload journal / blog posts from December, January, February

Literature review - update and add personal takeaway from each section [x]

Analyse survey response data to prepare recruitment of interviewee (representative sample) Discard partial responses [x]

Close survey (Feb. 6th) Update posts on Linkedin, Twitter, Facebook with end date [x]

Conduct first (pilot) interview [x] Test technology (Zoom Transcription feature) Update Calendly and test availability selection Prepare follow up email Offer support resources if wanted Refer to consent form and plain language statement

Using Otter.ai in the meantime

Zoom transcription feature Zoom Paid Plans Customize your education plan and get comprehensive reporting, cloud recording and transcription, LTI/LMS integration, SSO, and get access to webinar, chat, phone, and room solutions.

Interview issues encountered so far

veronique.savard2@mail.dcu.ie — Sun, 14 Feb 2021 00:00:00 GMT

Survey data

Here are two word clouds generated using the comments received within the survey.

Interview issues so far

Technical issues

Using Otter.ai (free version) with the phone while relying on the phone to pick up audi seems to clash
Otter.ai can create transcripts from imported audio
Zoom time limit for meeting is 40 minutes; had to buy Zoom Pro to drop limit and allow the conversation to flow naturally instead of being conscious of time
French accent and other accents picked up differently by Otter.ai

Interview flow issues

Participants asking for examples as they want to provide the 'right answer'

Interview Emails

veronique.savard2@mail.dcu.ie — Sat, 06 Feb 2021 00:00:00 GMT

Interview Emails

First email - invitation to participate in the interview and confirmation of a few key points

Dear ¬name,

As you may recall, at the end of a preliminary survey, you kindly volunteered your contact information to participate in an interview in the context of a research study. This research study aims to compare and contrast how music enthusiasts relate to physical music collections and music streaming services. The interview will take approximately 30 minutes during which I will simply try to capture your thoughts and perspectives on accessing and curating music collections. As a music enthusiast, you are in an ideal position to give us valuable firsthand information from your own perspective. There is no compensation for participating; however, your contribution will be a valuable addition to the research study. The findings could lead to the improvement of online collection interfaces and the delivery of more valuable user experiences when accessing music via a streaming service. Can you respond to this email to confirm that you are still willing to participate? If so, please confirm the following in your reply - as the survey was submitted anonymously:

Are you part of the Millennial generational cohort? (born between the years 1980 - 2000)

Do you own physical music records?

Do you use music streaming services? This will help me narrow down a representative sample for the research study. Be assured the responses to the questions will be kept confidential. I will be in touch shortly following your reply. If I do not hear from you, I will assume you are no longer interested and I will not contact you further. If you have any questions in the meantime, please do not hesitate to ask. Thank you once again, Veronique

Second email

Suggested time slots (as per calendly) Meet up using Zoom I can forward the consent form and the plain language statement if desired https://calendly.com/dcu-vs/interview-music-collections

Interview pilot and takewaway

veronique.savard2@mail.dcu.ie — Thu, 04 Feb 2021 00:00:00 GMT

Interview pilot

I have only started to review the survey responses; in order to contact participants for the follow-up interview, I aim to speak with a representative sample within the pool of respondents. As over 40 people shared their contact details to participate in the interview, I want to select 5 to 7 of them using a sampling frame based on year of birth (within the Millennial generational cohort or not), ownership of physical music records and use of music streaming services. Since the initial survey was submitted anonymously and the contact details provided in a separate submission, I will ask to confirm those details in an email preceding the interview.

With the help of a friend, I have conducted a pilot interview today which turned out to be incredibly necessary. While the semi-structured interview questions I have prepared thus far flow nicely, I have a tendency to 'complete' them during the conversation, changing into leading questions -- something to watch out for in my actual interviews. I also have to ensure the technology I plan to use is in order before any recording starts.

TL:DR;

flow was less evident
be careful not to give leading questions
keep conversation natural and advise where we are in the interview

Updated interview questions as a result**

Introduction

Hi , How are you! Thank you for joining me today.

Lovely to meet you, I’m Veronique. As part of a research study, I am comparing how Millennials who love music interact with the physical music records and the music accessible via streaming services. Before our interview, you completed the preliminary survey and we have established that you agreed to be contacted to participate further in this research study, perfect.

Is it ok to record the interview? It’ll help me focus on what you’re saying as I can go back to review our session later instead of taking notes. I can also provide you with a copy of the transcript once available. Do you have any questions before we start? OK - I’ll start recording now.

Today I would like to ask some questions about how you listen to music and your music collections. There is no right or wrong answer, you don’t have to address all the questions I’ll ask you. If you feel any discomfort at any point, we can pause or stop the interview and I can provide you with external support resources if you desire.

Tell me a little about yourself.
Why is music important in your life? Tell me a little about what type of music you like best.

Is there a particular moment when you rely on music to help you? (I.e. concentrate, relax, focus, process difficult thoughts, dance) What is a memory you have that is either linked to music or that music brings back to you? (For instance, a lullaby that your parents use to sing). Do you remember the last time you actively listened to music? Tell me about that. Do you remember the last time that you get lost in the music? Is listening to music a personal or a shared experience for you? Do you like attending live events (concerts, operas, theater)? What has been your favourite experience?
How do you like to organize your music? CASES

a) Physical & streaming services

b) Only physical

c) Only streaming services

How do you find and select new music? How do move around and arrange the music you already have on playlists or as part of your physical collection?
Do you create/modify playlists - add/exchange to your physical records How do you keep track of what other people are listening to? Do you follow any music charts or playlists? Do you think people would be surprised by some of the music you listen to?

Is there a type of music that you don’t share with people? Can you remember the last time you shared or borrowed CDs from friends or family?

Can you remember the last time you shared your streamed music with friends or family?

Do you have guilty pleasure song or karaoke go-to sing?

(a, c) Do you have particular songs or albums in more than one playlists?

(a, b) Do you have special editions or celebratory editions / re-release of certain albums?

Do you have music that you stream online for which you don’t have a physical copy? Is there a particular reason?

The opposite – is there music that you listen to only using your physical copy?

Do you listen to your physical music more often than you use the streaming service? Has that changed over the past years?

Have you kept any physical music records and why? Do you think the quality of music has improved over time with technology?

What about the quality of digital music from a streaming services? Do you purchase digital music at all? By song , albums…

When is the last time you purchased a song or album in digital form? Which one was it?

If you had all the money and the space in the world, how would you listen to your music?

As a final thought, do you think streaming services can replace traditional collections entirely?

Conclusion

Do you have any questions? Is there anything you would like to add that did not come up in the session? Thank you for your time and effort. This information will be kept private and reviewed in the context of our research study. If you want, we can send you a copy of the research once it is published as well.

Fourth meeting with Rosarie

veronique.savard2@mail.dcu.ie — Mon, 01 Feb 2021 00:00:00 GMT

Meeting on February 1rst

Number of survey responses Submitted survey link in Facebook music groups over responses (- 7 in progress, a few are partial responses)

Confirming with Rosarie if I am discarding partial responses
Lit review: updated
Review Interview questions

As of today, I prepared an interview email invitation and sent it to 2 participants as pilot.

Preparing support Links and resources
I set up a Calendly: https://calendly.com/dcu-vs/interview-music-collections

Survey responses and issues

veronique.savard2@mail.dcu.ie — Thu, 28 Jan 2021 00:00:00 GMT

Survey responses

Over 70 complete responses at this point; I will be discarding the partial responses
Cleaning up the data file to create visualisation with PowerBI
Quite a few good comments left regarding physical music collections and streaming services.
No one has mentioned only having physical music records; according to the answers, most people have a combination of both types of collection.

Advantages and disadvantages of survey research (https://academic.oup.com/intqhc/article/15/3/261/1856193)

Advantages:

- The research produces data based on real-world observations (empirical data).

- The breadth of coverage of many people or events means that it is more likely than some other approaches to obtain data based on a representative sample, and can therefore be generalizable to a population.

- Surveys can produce a large amount of data in a short time for a fairly low cost. Researchers can therefore set a finite time-span for a project, which can assist in planning and delivering end results.

Disadvantages:

- The significance of the data can become neglected if the researcher focuses too much on the range of coverage to the exclusion of an adequate account of the implications of those data for relevant issues, problems, or theories.

- The data that are produced are likely to lack details or depth on the topic being investigated.

- Securing a high response rate to a survey can be hard to control, particularly when it is carried out by post, but is also difficult when the survey is carried out face-to-face or over the telephone.

Recruiting participants

veronique.savard2@mail.dcu.ie — Tue, 26 Jan 2021 00:00:00 GMT

Where to post and find participants

Current status of the survey Responses (62 to date)

Thanks to feedback from other students, I have decided to post my survey invitation in Facebook Groups relevant to music collection.
I expect final survey numbers to reach approximately 100 (fingers crossed). I will monitor the responses and close the survey in the first week of February.
Literature review draft - circling back on it

Finding participants

veronique.savard2@mail.dcu.ie — Sun, 17 Jan 2021 00:00:00 GMT

Pilot version of the survey with Qualtrics:

bit.ly/2LB9T9n

Please have a look and let me know what you think! I reviewed your comments and also listened to the feedback of the few people who looked at the original questions.

I also am preparing the social media blurbs as appropriate.

Linkedin As part of my Higher Diploma in Interaction Design (DCU), I am conducting a research study to compare and contrast how music enthusiasts relate to physical music collections (CDs, vinyl records, etc.) and music streaming services. I am looking to get 300 participants, aged 18 or older, to fill a 7-10 minute survey. The survey will be submitted anonymously. At the end of that survey, participants will be given an option to share their details to be contacted for a follow up interview at a later time. All data collected over the course of this study will be anonymized; the study has received full ethical approval from DCU. The aim of the research study is to identify if Millennials in particular consider music streaming services (such as Spotify) equivalent to physical music collections. Any discrepancies identified will be useful in improving online collection interfaces and delivering more valuable user experiences when accessing music via a streaming service. I kindly request your help with this endeavour; participating and sharing this survey with your connections would go a long way. Please feel free to reach out to me if you have any questions.The link to the survey is attached below, thank you in advance for your time and contribution!

Twitter and others (whatsapp) Hello everyone, As part of my Higher Diploma in Interaction Design (DCU), I am conducting a research study to compare how music enthusiasts relate to physical music collections (CDs, vinyl records, etc.) and music streaming services. If music is an important part of your life and you access it via all means possible, it would be great if you could answer the survey below. bit.ly/2LB9T9n Thank you in advance for your help!

Responses are fully anonymous
Participants must be age 18 or older

Setting up Qualtrics

veronique.savard2@mail.dcu.ie — Wed, 13 Jan 2021 00:00:00 GMT

Creating 2 surveys

Survey One

One with an anonymous set up
Questions
multiple choices
comment boxes

Survey Two

optional survey were participants opted to share their contact details
no possible way to link to previous survey answers

Supervisor catchup After Christmas

veronique.savard2@mail.dcu.ie — Mon, 11 Jan 2021 00:00:00 GMT

January 11th 2021

Happy New Year :)

Submission of literature review (draft) Anything left regarding the ethics approval? There is a submission box in red on the HSA course page Update to survey questions (Survey Questions ), pilot sent to 3 people for now

there is a forum page for data piloting? https://loop.dcu.ie/mod/forum/view.php?id=1333259

Qualtrics version Sending surveys to the greater public

January 17th

Pilot version of the survey with Qualtrics:

bit.ly/2LB9T9n

Please have a look and let me know what you think! I reviewed your comments and also listened to the feedback of the few people who looked at the original questions.

I also am preparing the social media blurbs as appropriate.

Responses are fully anonymous
Participants must be age 18 or older

Final survey questions

veronique.savard2@mail.dcu.ie — Mon, 11 Jan 2021 00:00:00 GMT

	Playlists accessed via music streaming services - the new approach to music collections?
1	I am 18 years or older at the time of reading this form
2	I understand the information provided about the research study and the survey. A copy of this anonymous consent form is available here.
3	I have read and I agree with the contents of the Plain Language Statement.
4	I understand the information provided in relation to Data Protection.
5	I understand I may withdraw from the research study at any point.
6	Do you identify as:
7	How old are you?
8	List of Countries
9	Do you own physical music records (E.g CDs, vinyl records, cassettes, etc.)
10	Can you tell us which ones more specifically? - Selected Choice
11	Can you tell us which ones more specifically? - Other - Text
12	Do you know how many physical music records you own currently?
13	When did you start collecting physical music records?
14	Did you start collecting music records yourself or did someone else start the collection you have now? - Selected Choice
15	Did you start collecting music records yourself or did someone else start the collection you have now? - Other - Text
16	Do you exchange (lend, borrow, share) physical music records with other people (friends, colleagues, etc.)? - Selected Choice
17	Do you exchange (lend, borrow, share) physical music records with other people (friends, colleagues, etc.)? - Other - Text
18	How often do you listen to music records from your physical collection?
19	Are there physical music records that you own but can't play or listen to anymore?
20	Why can't those records be played anymore? - Selected Choice
21	Why can't those records be played anymore? - Other - Text
22	How likely are you to add more physical music records to your collection in the next year?
23a	Please let us know how you agree with the following statements regarding your physical music collection and physical music records available on the market. - My collection is paid for and worth the money.
23b	Please let us know how you agree with the following statements regarding your physical music collection and physical music records available on the market. - I have a great music selection.
23c	Please let us know how you agree with the following statements regarding your physical music collection and physical music records available on the market. - I like to own the music I enjoy.
23d	Please let us know how you agree with the following statements regarding your physical music collection and physical music records available on the market. - I can purchase music records from a huge selection available.
23e	Please let us know how you agree with the following statements regarding your physical music collection and physical music records available on the market. - I can find any edition or version of the music I want.
23f	Please let us know how you agree with the following statements regarding your physical music collection and physical music records available on the market. - I can support artists by purchasing their music records.
23g	Please let us know how you agree with the following statements regarding your physical music collection and physical music records available on the market. - I can discover new music easily.
23h	Please let us know how you agree with the following statements regarding your physical music collection and physical music records available on the market. - I can personalize my music selection.
23i	Please let us know how you agree with the following statements regarding your physical music collection and physical music records available on the market. - I enjoy the packaging and the album art of the physical music records.
23j	Please let us know how you agree with the following statements regarding your physical music collection and physical music records available on the market. - The quality of the music from the physical music records is great.
23k	Please let us know how you agree with the following statements regarding your physical music collection and physical music records available on the market. - I can share my physical music records with others.
23l	Please let us know how you agree with the following statements regarding your physical music collection and physical music records available on the market. - The physical music records I own evoke memories.
23m	Please let us know how you agree with the following statements regarding your physical music collection and physical music records available on the market. - I prefer quality over quantity in my selection of music.
23n	Please let us know how you agree with the following statements regarding your physical music collection and physical music records available on the market. - I have been listening to the same albums or artists forever.
23o	Please let us know how you agree with the following statements regarding your physical music collection and physical music records available on the market. - My musical preferences in my physical record collection are a reflection of who I am.
23p	Please let us know how you agree with the following statements regarding your physical music collection and physical music records available on the market. - I am proud of the collection I have built so far.
24	Is there anything else you'd like to mention about your music collection and physical music records?
25	Do you use streaming services to access and listen to music?
26	Can you tell us which ones more specifically? - Selected Choice
27	Can you tell us which ones more specifically? - Other - Text
28	Do you have a paid subscription for that music streaming service?
29	Can you tell us why? - Selected Choice
30	Can you tell us why? - Other - Text
31	When did you start using this music streaming service?
32	Did you start using this music streaming service yourself or did someone else set up the access you have now? - Selected Choice
33	Did you start using this music streaming service yourself or did someone else set up the access you have now? - Other - Text
34	How often do you listen to music using this streaming service?
35	Do you know how many playlists you have or are suscribed to (following)?
36	How many of those playlists did you create or modify?
37	Are the playlists you created private or public (available to others)? - Selected Choice
38	Are the playlists you created private or public (available to others)? - Other - Text
39	Do you exchange (follow, share) playlists details with other people (friends, colleagues, etc.)? - Selected Choice
40	Do you exchange (follow, share) playlists details with other people (friends, colleagues, etc.)? - Other - Text
41	Is there music on the streaming service that you used to access but that can't be played or listened to anymore?
42	Why can't that music be played via the streaming service anymore? - Selected Choice
43	Why can't that music be played via the streaming service anymore? - Other - Text
44	How likely are you to add or create playlists using the music streaming service in the next year?
45a	Please let us know how you agree with the following statements regarding your personal use of the music streaming service and music streaming services available on the market. - My subscription is worth the money.
45b	Please let us know how you agree with the following statements regarding your personal use of the music streaming service and music streaming services available on the market. - I have a great music selection.
45c	Please let us know how you agree with the following statements regarding your personal use of the music streaming service and music streaming services available on the market. - I feel like I own the music I enjoy.
45d	Please let us know how you agree with the following statements regarding your personal use of the music streaming service and music streaming services available on the market. - I can access music from a huge selection available.
45e	Please let us know how you agree with the following statements regarding your personal use of the music streaming service and music streaming services available on the market. - I can find any edition or version of the music I want.
45f	Please let us know how you agree with the following statements regarding your personal use of the music streaming service and music streaming services available on the market. - I can support artists by listening to their music via the streaming service.
45g	Please let us know how you agree with the following statements regarding your personal use of the music streaming service and music streaming services available on the market. - I can discover new music easily.
45h	Please let us know how you agree with the following statements regarding your personal use of the music streaming service and music streaming services available on the market. - I can personalize my music selection.
45i	Please let us know how you agree with the following statements regarding your personal use of the music streaming service and music streaming services available on the market. - I enjoy how the streaming service diplays information about the artists and their music.
45j	Please let us know how you agree with the following statements regarding your personal use of the music streaming service and music streaming services available on the market. - The quality of the music I access via the streaming service is great.
45k	Please let us know how you agree with the following statements regarding your personal use of the music streaming service and music streaming services available on the market. - I can share my playlists and music recommendations with others.
45l	Please let us know how you agree with the following statements regarding your personal use of the music streaming service and music streaming services available on the market. - The music I access most regurlarly evoke memories.
45m	Please let us know how you agree with the following statements regarding your personal use of the music streaming service and music streaming services available on the market. - I prefer quality over quantity in my selection of music.
45n	Please let us know how you agree with the following statements regarding your personal use of the music streaming service and music streaming services available on the market. - I have been listening to the same albums or artists forever.
45o	Please let us know how you agree with the following statements regarding your personal use of the music streaming service and music streaming services available on the market. - My musical preferences on the streaming service are a reflection of who I am.
45p	Please let us know how you agree with the following statements regarding your personal use of the music streaming service and music streaming services available on the market. - I am proud of playlists I created and follow on the music streaming service.
46	Is there anything else you'd like to mention about your use of your preferred music streaming service?
47	You have completed the survey, thank you! We are looking to interview a few of our participants to hear more about their music listening habits and their collections. Would you like to participate further in the research study beyond this survey?

Organising literature

veronique.savard2@mail.dcu.ie — Mon, 04 Jan 2021 00:00:00 GMT

Making it easier to refer to the articles

While I have been keeping track of my readings, at the time of writing the literature review I need to revisit and digest it anew.

I have decided to structure the articles I have saved in separate folders as I go through them again.

I am also combing through the articles and grouping them using tables in attempt to retrieve the observations more easily.

Survey status after December revision

veronique.savard2@mail.dcu.ie — Fri, 18 Dec 2020 00:00:00 GMT

Updates to survey questions thus far

Pilot survey

SURVEY QUESTIONS

| Thank you for choosing to participate in this survey. We appreciate your cooperation.This survey is brief and should take no longer than 10 minutes to complete.We will not share the information you provide outside of the research context. Your responses and your participation to the current survey will remain anonymous. | | --- |

First, a little bit about yourself. DEMOGRAPHIC

Were you born between 1980 and 2000? □Yes □No

Do you identify as:

□ a man □ a women □ I do not want to share this information

Country – location

Now, we want to know more about how you interact with music. PHYSICAL MEDIA

Do you own physical music records? □Yes □No

If yes, what are they:

□CDs □Vinyls □Mini-CDs □Other\

How many music records approximately do you own?

□ 1 to 10 □11 - 25 □25-50 □I don't know□Other

Did you start collecting records yourself or did someone else introduce you to it?

□Yes □NoQuestion to see if collection was influenced by external party instead of curator

Do you share the physical records with someone else? □Yes □No

How often you listen to your physical music records:

□Rarely □Often □Every day

Do you plan to buy more physical music records in the near future? □Yes □No

How old is your physical music?

Do you still have physical music records that you can't play or listen to anymore? □Yes □No

If yes, why can't it be played anymore?

□ Outdated technology or device □ Physical media is broken □ Other

According to you, what are the main reasons to listen to music using physical media?

There is no or little cost Not important Somewhat Important Very Important Not applicable

There is a huge selection of music

I can access my preferred music

I can listen to specific albums

I can encourage specific artists

I discover new music

I can personalize my music selection

I can share my physical media (CDs, vinyls) with others

I can be selective in my choice of music

I can find any edition or version of the music I want

The music is mine

The quality of music is great

I connect with the music I listen to

It makes me happy

I feel relaxed

I can concentrate on the music

Music is not limited to physical records. We want to know how you feel about digital music and music streaming services. STREAMING SERVICES

Do you use streaming services such as Soundcloud or Spotify to stream music?

□Yes □No

Which one?

□Soundcloud □Spotify □Other

Do you have a premium subscription? □Yes □No

If yes, why: □No ads □More features □Other

How often you listen to music via Spotify streaming service:

□Rarely □Often □Every day

Can you tell us many playlists do you have or are subscribed to (following)?

□ 1 to 10 □11 - 25 □25-50 □I don't know□Other

How many of those playlists did you create?

□ 1 to 10 □11 - 25 □25-50 □I don't know□Other

Are the playlists you created private or public (available to others)? □Most of them public □Most of them private □Equally private and public

How often you listen to your playlists or streamed music:

□Every day □Once a week □ Once in a while

□In a specific place or a specific time

□Other:

Do you plan to buy more digital music records in the near future (i.e on Apple Music or another digital store)? □Yes □No

Do you still have music that you can't play or listen to anymore? □Yes □No

If yes, why can't it be played anymore? □ Outdated technology or device □ Left in the database of a previous streaming service □ File corrupted □ Other

Did you start streaming music yourself or did someone else introduce you to it?

□Yes □NoQuestion to see if collection was influenced by external party instead of curator

According to you, what are the main reasons to listen to music using streaming services?

There is no or little cost Not important Somewhat Important Very Important Not applicable

There is a huge choice of music

I can access my preferred music

I can create playlists

I can follow specific artists

I discover new music

I can personalize my music selection

I can be selective in my choice of music

I can share my musical selection or playlist with others

The quality of music is great

I can find any edition or version of the music I want

The music is mine

I connect with the music I listen to

It makes me happy

I can concentrate on the music

Going forward, we would like to hear more about your love of music.

Would you like to participate further in the research study beyond this survey? □Yes □No

Please provide your contact details below

Name: _____

Email address: _____

Draft Literature review

veronique.savard2@mail.dcu.ie — Fri, 18 Dec 2020 00:00:00 GMT

Literature review draft

Draft Literature Review

Work in progress, will be updated following review from my supervisor

Introduction

Music has evolved over the past decades and has become more accessible than ever thanks to the incredible advancements in technology and the world becoming connected through globalization. The music industry had to adapt to cope with the demands of the generation who grew into that change. Where originally one had to go to a specific store to acquire physical media based on availability, the internet allows legal, illegal (piracy) but above all immediate access to all the music one can wish for. To maintain control over the supply, the music industry has promoted an inexpensive way to access music content via stream instead of encouraging ownership.

The quick technological advancement of personal devices leads to a movement away from physical music storage, such as CDs and vinyl records and an exponential adoption of music streaming services accessible on multiple devices. This change happens in parallel with Millennials joining the workforce and becoming targeted consumers (Wobbrock, 2014). Instead of building upon traditional physical media collections, they turn to the digital tools to curate their music. This literature review will delve into the relationship Millennials have with both physical music collections and music streaming services by discussing the evolution of music consumption in the last decades, how music collections are approached in this context and how Millennials have grown up steeped in technology.

Section name should be a description: I.e Curation and collections

Narrative through curation

The difference between hoarding and collecting is selecting and keeping objects or artefacts that hold a meaning beyond their initial purpose. Wolff and Mulholland (2013) advance that the collectors’ purpose in curating artefacts is to present a certain narrative in the way they interrelate. This narrative, built upon the knowledge and learning of the curator, can be interpreted differently by the external observer or visitor. Curating is meaningfully selecting assets and attributing their worth to an intangible over its intrinsic values (Jung et al. 2011). -- sentences to give interpretation of the literature; we know x, y z; but a,b,c. -- This angle can be explored more

Self-presentation via possession

Collections are observed in terms of how they sustain memories, how they are displayed and how they facilitate exchanges and connections. Odom, Zimmerman and Forlizzi (2011) state that people actively reinvent themselves by selecting which elements of their past to keep and which to let go. Moreover, the way consumers surround themselves with chosen pieces is an expression of the self (Golsteijn, Den Hoven, Frohlich and Sellen, 2012; Kirk and Sellen, 2010). Csikszentmihalyi and Rochberg-Halton (1981) mention that certain objects can ‘become associated with a particular quality of the self’ to an extent where it is impossible to know if the quality is emphasized or created out of thin air. The authors propose that the meaning, the intangible, supersedes the possessions themselves.

Physical and digital collections

This narrative based on ownership extends beyond the physical realm: Danckwerts and Kenning (2019) mention the prevalence of psychological ownership where the digital assets can be managed. Physical mementos have precedence over digital ones, according to Petrelli and Whittaker (2010), as they allow for an easy access and tangible, visible, flexible in terms of invocating meaning. Previous research articles emphasize that any degradation to physical artefacts does not necessarily impact the reason for keeping it; digital artefacts, if they become faulty or unreadable, lose any purpose or value (Petrelli and Whittaker, 2010; Kirk and Sellen 2010). Pettrelli and Whittaker also state that digital collections can be ignored more easily and turn to accumulation over time, as the bulk of the digital objects are not visible unless sought. Supporting this, Golsteijn et al. (2012) mention digital artefacts can nevertheless be cherished and constitute an extension from their physical counterparts if they have a meaningful use and are part of an active collection, where the collector curates kept media. Separate mini conclusion per section

-- tie it back to the question raised or answered in the research /literature I.e. personal conclusions about what I read People have a deep relationship with their collections --< conclusion

How the music consumption evolved in the last decades

Physical to digital music access

While music is still an important part of our lives, it can be access very differently now compared to a decade or two ago. A study from Molteni and Ordanini (2003) delving into the recording music industry and the evolving consumption patterns in the digital age show the music industry has had to shift away from the physical media and find new strategies on the online and offline management of music catalogues. Vlachos and Vrechopoulos (2004) also point out the contrast between the continuously climbing demand for music products and the decrease in sales of physical music storage, in their article CDs specifically. These articles are over 15 years old but still apply today. Incidentally, as digital purchasing and pirating have also hugely impacted the music industry over the past two decades and beyond, there has been a continued drop in physical music sales (Kumar and Parikh,2013; Sesigür, 2020).

Brown and Sellen (2006) explore in their paper ‘Sharing and Listening to Music’ how sharing music has changed since the early 2000s. While the technology changes, the desire to copy music, share it and socialize over it has not. Brown and Sellen argue that physical media are more suited for collectability than digital media as they can be more readily explore, lent to others and given value beyond its original purpose. Digital music is seen as complimentary to the physical music in terms of convenience of storage and access. Magaudda (2011) mentions that music re-materialization (i.e. return to a physical media, such as a burned CD with mp3s) is also highly involved in the digital consumption cycle. Kumar and Parikh (2013) support that mobile phones becoming more affordable and supporting media have had a huge impact in the music consumption in the Eastern world, while the western side has benefited from online resources as a transition from physical records. The advent of personal devices has today enabled most of the global population to access digital music repositories at will.

Streaming services as a digital answer

Sinclair and Green (2015) mention that streaming as a legal alternative did help bring over downloaders to consume music from the industry. While it is not the focus of the current research, the ethical implications of the streaming services were mentioned in a few papers in terms of remuneration to the members of the music industry (Sinclair and Green, 2015; Nguyen, Dejean and Moreau, 2012). Shukla and Stewart (2017) and Sesigür (2020) propose that, regardless of the digital aspect of the music, there is a consumption practice of materiality, which for music is now the creation of playlists. Music enthusiasts will interact as much as possible with the tools at their disposal to claim ownership over what they consume, even if this translates to the app or the device on which they access. The maintenance of playlists in music streaming services is a substitute to the activity of curation, accumulation and management of the music available from the huge online libraries. Creating playlists is a form of individualized consumption (Nguyen, Dejean and Moreau, 2012; Hagen, 2015). Spotify users in Ireland Because music streaming services offer clear positives – perceived low price, sizable library and personalization features – they attract an incredible number of users. In the context of the proposed research study, due to limited time and resources, the focus is on one music streaming service: Spotify. It is the most popular service globally, according to the Statista website (2020): “In 2019, 35 percent of music streaming subscribers worldwide had a subscription with Spotify, almost double the share who were subscribed to Apple Music. Other services in the list included Amazon, Tencent and Deezer.” According to 2020 publications on both the Business of Apps and the Irish Times websites, there are 286 million monthly active Spotify users worldwide, for which 600 000 paid subscribers are based in Ireland, with twice this number of users estimated to use the free version within the country. The number of paid subscribers is of interest as, according to a localized French study authored by Dang Nguyen, Dejean, and Moreau (2014), free streaming seems to be considered on a similar level to listening to the radio and TV as a discovery tool. The features available in a paid membership must have added value to explore, hence there is an emerging focus on free and paid streaming services (Mäntymäki, and Islam, 2015). Psychological ownership, which is perceived ownership following an interaction, also has a claim on the likelihood of paid streaming service membership (Danckwerts and Kenning, 2019).

Millennials have grown up with technology

Millennials embrace digital change Millennials have grown up in a more technologically privileged environment than the generation preceding it and are referred to as ‘digital natives’ (Serazio, 2015). The access to social media platforms and other emerging technologies has been an integral part of their lives, thus leading to an easy acceptance of technological change (Marston, 2019; Greengard, 2012). Because of this exposure to technology, Millennials can multitask in a nonlinear manner and expect interactivity and inductive experiences in turn, moving away promptly from disappointing or convoluted products (Prensky, 2001; Serazio, 2015; Marston, 2019). Moreover, there is a culture of immediacy in the generational cohort; there is a preference for real-time, on-demand and self-service over traditional resources, thanks to the advent of Internet and smart objects. This attitude is referred to as ‘impatience to succeed’ and entitlement, even in the workforce (Ng, Schweitzer and Lyons, 2010).

Millennials can access incredible repositories of music

While the reach that Millennials have on social media transcends what Baby Boomers would have had before (Brown and Sellen, 2006), as music consumers they are still influenced by self-identification and social networks. As CDs, vinyl records and various digital music resources coexist in their households, Millennials can benefit from recommendations from the previous generations and improve their music experience with peers online (Xu, 2015; Odom, Zimmerman and Forlizzi, 2011). For older generations and Millennials alike, there is a strong bond developed by sharing a common musical preference (Brown and Sellen, 2006). In a comparative research study, Saldana (2016) states that, while their musical choices may support attitudes and values, Millennials would not stand by them as staunchly as would the previous generations. Consequently, thanks to the vast repositories of music at their fingertips, Millennials can shift more easily from one trend to the other (Brown, 2006; Giles, Pietrzykowski and Clark, 2007; Greengard, 2012).

Conclusion

People feel strongly about their collections; most of the previous studies covering curating and collections focus on multi-generational households and are not specific to music and streaming. Curation have been a way for collectors to appropriate the content as they decide what gives it value, what should be keep and what should be discarded. It is an involved process as it requires conscious effort and it culminates into the expression of a narrative or reasoning. The music industry has evolved greatly over the past decades and there has been a steady transition towards digital music consumption. While the usage of music streaming services is actively being researched, there is a limited body of research targeting the Millennials and their perspective on this service. There is also little documentation showing how Millennials value their digital music collections versus their physical counterpart. In the previously listed literature, only Odom and Forlizzi (2011) did more recently observe then-teenagers and their emotional attachment to digital artefacts. Based on the existing literature reviewed, there is thus an opportunity to compare and contrast how Millennials relate to music streaming services versus a physical music collection.

Third Meeting with my supervisor

veronique.savard2@mail.dcu.ie — Mon, 07 Dec 2020 00:00:00 GMT

Key points

Changes necessary for ethics approval

What data you are collecting
How collecting, analysing, storing and deleting
Detail out the spotify data

Ethics: Additional information

What data you are collecting

Gender (from the survey) Email (from the survey) Age range (from the survey) Location (from the survey) Music streaming history Playlists (from Spotify playlist history json file)

How collecting, analysing, storing and deleting

The survey will be made and distributed using an online tool (Qualtrics, Survey Monkey).

The data gathered from the survey and the interview will be analysed thematically. The Spotify data will be used to support the themes identified.

The data will be collected and stored in my DCU account Google drive.The data will be deleted at the end of the academic year.

Justification for low risk

There will be no data collected outside of the listed items; this data will be kept secure in the Google Drive assigned to my DCU account. The data will be deleted at the end of the academic year. The data will be anonymised and I will make use of pseudonyms when appropriate (i.e. quoting an interview statement).

The subject of the research study does not target sensitive content or input from the participants. However, should there be any unease or discomfort, the participants can withdraw, refuse to answer the question and opt out at any point in the survey and interview process. Links to support resources will be provided at the end of the survey and the interview.

Vulnerability

Justification for sample size

Based on the reported Irish user base for Spotify, I used the sample size calculator to estimate the correct sample size to reach a confidence level of over 90%. I rounded up the figure provided to 400. I have since been advised that a level of confidence over 80% would be perfectly acceptable, hence I revise my sample pool for the survey to 208 for an estimated level of confidence of 85%.The sample size for interview remains the same as it is an acceptable sample size in the context of qualitative interview and is reflective of the time and resources available for this project.

https://www.surveymonkey.com/mp/sample-size-calculator/ https://www.qualtrics.com/blog/calculating-sample-size/

https://www.irishtimes.com/culture/music/spotify-reveals-ireland-s-most-streamed-artists-in-2020-1.4423853 “Spotify has more than 600,000 paid subscribers in Ireland, while upwards of 1.3 million people are thought to have used its free, ad-funded service at some point.”

The below data gathering method has been discarded, December 10th 2020

Detail out the spotify data

First of all, this step will remain entirely optional and detailed steps will be provided to the participants. The data will be sent to my DCU email account and stored on the DCU account Google Drive for the duration of the academic year. If participants send any other data than the one specified, this data will be deleted immediately.

Steps to retrieve the data*

Full details and screenshots here.

Access the account page of Spotify using a computer, not the mobile application.

On the browser version of Spotify, the option is available via a dropdown.

In the account options, select Privacy Settings.
In the privacy setting, there will be an option to download your data. Click on the black request button in the first square indicating ‘step 1’ to start the process.
Spotify will send an email will a link once the data is available. This can take hours or days, it will not be immediate.
Once you click on the link, you will be brought back to the account page where you can download a ZIP file containing your data. This ZIP file can be decompressed using WinRAR or 7zip. If you need more technical support, please contact me at veronique.savard2@mail.dcu.ie.

The files extracted outside of the ZIP file look like this: (scrrenshot)

In the context of this research, I only ask to analyse the streaming history and playlists files. There could be one or more files identified by the name StreamingHistory and Playlist followed by a number. I ask you to attach these StreamingHistory and Playlist files to an email addressed to veronique2.savard@mail.dcu.ie.

Please do not send any other files, anything other than these files will be deleted upon reception.

The StreamingHistory and Playlist files will be stored on the DCU account Google Drive for the duration of the academic year. The data contained in those files will be anonymised and a pseudonym will be used if there is any reference to it. Participants can decide to withdraw their data from the research study at any point in time.
The data contained in the two files is not personal information.

The StreamingHistory files is one json file pertinent to tracks and dates on which said tracks were listened to. The fields are endTime (date the track was listened to), artistName, trackName and msPlayed (duration of the song in milliseconds).

The Playlist file contains is a json file with an array of playlists and the tracks that they are made of, the date on which the playlist was last modified, along with the number of followers and a description field. The localTrack field indicates if the music is stored locally instead of the Spotify library.

I will use a visualisation tool to analyse the data (Power BI) and support the findings made using other data gathering methods (survey, interview, literature). I plan to draw observations on the usage of Spotify over the past months, the number of playlists recorded and the latest updated playlists, along with the oldest playlist in terms of modification date.

TO DO

Literature review Skeleton status

Next steps

Improving questions

Revising interview questions and instead of implementing the ENJOY scale, derive inspiration from it in terms of measuring enjoyment while listening to music

Updated plan

veronique.savard2@mail.dcu.ie — Wed, 18 Nov 2020 00:00:00 GMT

Project Name

Compare and contrast the relationship that Millennials music consumers have with physical music collections and music streaming services.

Research Question

Do Millenials have the same relationship with their curated physical music collections as they do with music curated using streaming services?

Research Aim:

Based 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).

My 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.

Multiple 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.

This 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.

Growing 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.

Project plan

Proposed research schedule

Pilot Study - Start January 2021
Data collection - January 2021
Data coding February 2021
Data analysis March 2021

Design and methodology

Using 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.

A 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.

Data collection methods

A 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.

The 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.

The data obtained from Spotify will be analysed for trends in usage and persistence. The 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

TL;DR

Survey

A ~~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

I will build on the existing data gathered during the ~~questionnaire~~ survey by conducting semi-structured interviews.
- 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.

The 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.

The limitation of this method: online conversation; limited view of body language
Spotify Data Analysis
- Extraction of the past year's data from Spotify
- Analysis of listening patterns based on streaming history

Details on participants

Study population

For the ~~questionnaire~~ survey: sample target of 100-400 people
For the semi-structured interviews: 5 to 8 people

I aim for a confidence rating of 80%.

The 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.

Assessment of risk

Limitations: More than one streaming service exists.

There will be no deception in the context of this research study.

Assessment of benefits:

To do something interesting.

Protection of anonymity:

What arrangements you will make to protect anonymity and maintain confidentiality?

Respect for participants: Is participation voluntary? Can participants withdraw from the study?

Establishing a clear and professional relationship with the participants.
Plain language disclosure

Informed consent

Reporting on results:

Participants can opt to be informed when the research study is published and they will be given contact details to reach out the researcher.

Arrangements for storage and disposal of data:

The named researchers are the only ones to have access to the data.

The 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.

The 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.

Bibliography

Unordered - to be cleaned up

Sharp, 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. Created from dcu on 2020-11-08 08:01:50.

Caine, 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)

Vlachos, P., & Vrechopoulos, A. (2004). Emerging Customer Trends Towards Mobile Music Services. www.mad.gr (Accessed 2 November 2020)

Bell, 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).

Golsteijn, 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)

Csikszentmihalyi, M. & Rochberg-halton, E. (1981) The Meaning of Things: Domestic Symbols and the Self. Cambridge: Cambridge University Press. (n.d.)

Jung, H., et al. How Deep Is Your Love: Deep Narratives of Ensoulment and Heirloom Status.International Journal of Design 5, 1 (2011), 59-71.

Kirk, 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.

Odom, 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.

Odom, W., Zimmerman, J., and Forlizzi, J. Teenagers and their virtual possessions: design opportunities and issues. In Proc. CHI 2011, ACM Press (2011), 1491-1500.

Petrelli, D. and Whittaker, S. Family memories in the home: contrasting physical and digital mementos.Personal Ubiquitous Computing 14, 2 (2010), 153-169.

Petrelli, 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.

Mäntymäki, M., & Islam, A. K. M. N. (2015). Gratifications from using freemium music streaming services: Differences between basic and premium users.

Belk, R. W. 1988. Possessions and the Extended Self. Journal of Consumer Research, 15, 2, 139-168.

Wirfs-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 .

Ng, 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

Kleine, S., Baker, S. 2004. An Integrative Review of Material Possession Attachment. Academy of Marketing Science Review. 1-39.

Miller, D. 1987. Material Culture and Mass Consumption, New York: Blackwell.

Brown, 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.

Greengard, S. Digitally possessed. Communications of the ACM 55, 5 (2012), 14–16

Odom, W., Zimmerman, J., and Forlizzi, J. Virtual Possessions. (2010), 368–371.

What I want to extract from the survey

veronique.savard2@mail.dcu.ie — Tue, 17 Nov 2020 00:00:00 GMT

Where to recruit participants

LinkedIn
Twitter

Goal

identify participants within target pool (Millenials)
confirm usage of streaming service and ownership of physical music

Using CDs as default value for physical music storage in the question below

Usage
- how often, in which situation, what do you need to listen, what are the steps you go through to, how do you feel when you set up the music, is there a ritual for certain songs/CDs or with certain people
Persistence
- do you have a/many favourite artists, do you follow every release, do you own many copies, do you listen to the same song or playlist often, do you discuss music with friends, do you exchange playlists or artists names or CDs
Curation
- do you listen to songs from playlists you create or other playlist, how do you pick the songs you add to your playlists, how do you select CDs, do you purchase Cds or vinyls at concerts or as memorabilia, do you ever tidy up your playlist or your Cd collection

Current Survey Questions

Were you born between 1980 and 2000? □Yes □No
Do you identify as:

□ a man □ a women □ I do not want to share this information
Do you own physical music records? □Yes □No

If yes, what are they:

□CDs □Vinyls □Mini-CDs □Other____
How many music records approximately do you own?

□ 1 to 10 □11 - 25 □25-50 □I don’t know □Other____
Do you share the records with someone else? □Yes □No
How often you listen to your physical music records:

□Rarely □Often □Every day
Do you plan to buy more physical records in the near future? □Yes □No

According to the Merriam-Webster dictionary, a collection is “an accumulation of objects gathered for study, comparison, or exhibition or as a hobby”.

Do you consider your music records a collection or being part of a collection?

□Yes □No
Do you plan on passing on your music records or keeping them for a long time? □Yes □No

Please let us know why __
Do you use streaming services such as Soundcloud or Spotify to stream music?

□Yes □No
Which one?

□Soundcloud □Spotify □Other__
Do you have a premium subscription? □Yes □No

If yes, why: □No ads □More features □Other__
How many playlists do you have or follow?

□ 1 to 10 □11 - 25 □25-50 □I don’t know □Other____
Do you share the playlist with someone else? □Yes □No
How many of those playlists did you create?

□ 1 to 10 □11 - 25 □25-50 □I don’t know □Other____
How often you listen to your playlists or streamed music:

□ Every day □Once a week □ Once in a while

□ In a specific place or a specific time □ Other: __
Do you plan on passing on or using this streaming service for a long time? □Yes □No

Please let us know why __

How to measure

Qualitative / Quantitative ?

Survey Resource

https://www.surveymonkey.com/

Reviewing my plan draft

veronique.savard2@mail.dcu.ie — Fri, 13 Nov 2020 00:00:00 GMT

Revisiting the research question

Original Question: Do Millenials experience a similar emotional connection between their curated physical music collections and music curated using streaming services?

How to measure an emotional connection?
- By Emotional connection → attachment

/ - / to be refined in something that can be more explicitly measured; improve wording

Updated Question: Do Millenials have the same relationship with their curated physical music collections as they do with music curated using streaming services?

Revisiting the goal

Old goal submission: Based on existing literature, collectors feel very strongly about their physical possessions even at a time where artefacts tend to become digital. I want to compare the emotional relationship of music consumers with their physical music collection and online streaming playlists to establish if going forward, technology can bridge that emotional connection gap.

/ - / needs more elaboration

Observation during discussion with supervisor: Compare relationship instead of emotional relational

New goal submission: Based 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 Millenial music lovers 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), longevity (listening patterns or preference over time, discovery and sharing habits), curation (organisational structure/playlists and personal signification).
I want to glean the Millenials overall satisfaction with both ways of accessing music and gain insight to establish if going forward, technology can bridge any relationship gap.

TL;DR

What do we measure and how

Usage
Longevity
Curation
Satisfaction

→ use clear barometers of comparison

Looking at parallel research

I brough up the following article to remove any doubt that the research I propose still is original and distinctive even if similar or parallel observations have been made by others.

Article: Ng, 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

Gathering further data

Spotify data

Explore my own date If personal information is there, isolate what I would and request that only Use as a step preceding the interview Instruction to request and sufficient notice Part of the debrief

Data gathering methods

Received comment regarding initial plan: This is a lot for the time frame available

Survey (<100 >400)

A questionnaire is any written set of questions, while a survey is both the set of questions and the process of collecting, aggregating, and analyzing the responses from those questions. https://www.surveymonkey.com/mp/survey-vs-questionnaire/
Interview (5-8 people)

Aiming for confidence rate <70 (80%)

Put in the details of the sample calculator

Questions raised

INVESTIGATORS’ QUALIFICATIONS, EXPERIENCE AND SKILLS

Who carries the research procedures
Qualifications

ETHICS FORM

whatis missing? (contact details, email address)

QUESTIONNAIRE

--> it is really a survey Make the below part of the ~~questionnaire~~ survey and not the informed consent

You are invited to participate further in the research study beyond this ~~questionnaire~~ survey. If you desire to do so, please provide your contact details below. We will not share information about you to anyone outside of the research team. Your responses and your participation to the current quest~~questionnaire~~ survey ionnaire will remain anonymous.

Name / Email address:

To do before final plan submission

Spotify data exploration
Screen Time data
- Check Apple and Android ways to look at most used apps; frequency; time spent on
Provide clear definitions
- collections, curation
- possession and ownership
- streaming service
Measurement Methods

Planning the research in more details

veronique.savard2@mail.dcu.ie — Sat, 07 Nov 2020 00:00:00 GMT

Project Name

Compare and contrast the emotional connection that music consumers experience with physical music collections and music streaming services

Research Question

Why do Millenials experience a greater emotional connection with their curated physical music collections compared to streaming services and playlists?

Research Aim:

Based on existing literature, collectors feel very strongly about their physical possessions even at a time where artifacts tend to become digital. I want to compare and contrast the emotional relationship of music consumers with their physical music collection and online streaming playlists to establish if going forward, technology can bridge that emotional connection gap.

Project plan

Proposed research schedule

Pilot Study - Start January 2021 Data collection - January 2021 Data coding February 2021 Data analysis March 2021

Design and methodology

Description of data collection methods and instruments; explanation of how reliability and validity will be assessed/how the quality of the project will be assessed; what method of data analysis is to be utilised.

Data collection methods

Questionnaire

A questionnaire will be presented to any participants answering the call to action. The questionnaire will take approximatively 5 to 7 minutes to complete.
Semi-structured interviews and Focus groups

I will build on the existing data gathered during the survey by conducting semi-structured interviews and a focus group in turn.
- 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. The interviews will be recorded (audio and video). The interviewees will not be anonymous. The data issued from the study will however be anonymised. The limitation of this method: online conversation; limited view of body language
- Focus group
Depending on the data gathered so far, it might be relevant to have more than one focus group -- especially if I want to separate representative sample of the population. The session(s) will be recorded (audio and video) for a follow-up analysis and transcription. In order to keep the conversation between participants flowing, I will abstain from taking notes and simply guide the participants in their discussion. Because the focus group session(s) will be recorded and the participants will not be anonymous. The data issued from the study will however be anonymised. The limitation of this method: online conversation; limited view of body language; participants might have submissive or dominant personalities disrupting the conversation

if required for further data collection

Diary Studies

As a possible mean of supporting the data gathered thus far, I will invite a limited amount of participants to track their interaction with music via a diary study.
- Extraction of the past month's data from Spotify
- WhatsApp or text message check in when using physical music

Details on participants

How they are recruited; what, if any, incentives will be given; where participants will be interviewed or tested; duration of the testing/interview period.

Study population - trickle down participants

For the questionnaire: sample target of 100-400 people For the semi-structured interviews: 5 to 8 people For the focus group: 4 or 5 people

If relevant; For the diary studies: sample target of 10 to 12 people

The participants are adult and 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.

Assessment of risk

Will deception be involved; is there potential for physical, psychological or social risk, and if so why? Will the procedure require participants to reveal details of a sensitive nature; for what purpose? What are the procedures for minimising distress? Will substances be administered? Are there any other risks, including to the researcher? What safeguards are in place if there are any adverse or unexpected outcomes?

Assessment of benefits:

What are the likely benefits to the participants?

Protection of anonymity:

What arrangements you will make to protect anonymity and maintain confidentiality?

Respect for participants: Is participation voluntary? Can participants withdraw from the study?

Establishing a clear and professional relationship with the participants.
Plain language disclosure

Informed consent

Reporting on results:

Details on your debriefing procedure; details on where and how results will be disseminated and whether participants will receive information on the research findings.

Arrangements for storage and disposal of data:

Who will have access to the data, where will it be stored and how will it be disposed of?

Provide clear definitions

collections
possession and ownership
streaming service