Motivations of Facebook Fan Interaction: Appalachian Musical Artists
Recently a group of graduate students in Media Arts and Studies conducted a social research project for a course in mass communications research at Ohio University. This successful project entitled “Motivations of Facebook Fan Interaction: Appalachian Musical Artists,” was conducted by Burr Beard, Toni Doman and Haley Kennedy.
Burr Beard
Artists and bands in the Appalachian based music genre’s of old-time, bluegrass classic country and Americana benefit by Facebook fan’s liking, commenting on and sharing posts that they maintain on the social media. This can benefit the venue as well as the artist by virtue of the promotional exposure of a concert date shared from the post. This is free publicity that could be better harnessed through agents or the artists acting themselves in social media engagement. Fans, artists, promoters and media reps talk about how they benefit from Facebook, and how it could be better utilized for mutual benefit between groups.
Abstract
Fans of Appalachian based music that include genres of Bluegrass, Old-Time, Americana, and Classic Country, have a strong online social presence with regard to their favorite bands as well as demonstrate a correlation between social media habits and the promotion of events and activities of these musical artists. The purpose of this qualitative study is to examine the habits of fans of Appalachian based musical artists regarding their use of Facebook. Our research team conducted ten interviews through purposive sampling which then moved to snowball sampling to receive further potential informants suggested by the original participants to develop an understanding of fan motivations on Facebook social media platform. Our study questioned informants on their Facebook motivations and uses of the like, comment and share features of Facebook, particularly with regard to favorite artists and their fan page content. Our research plans to contribute our findings of fan motivations to the Appalachian based music community so artists can better understand and utilize the concepts of fan based marketing. Introduction The advent of new communication technologies like social media have changed how individuals communicate across the globe, and how marketers respond to those changes. Salient demographics have shifted as audiences become more fragmented due to the new ability to pursue diverse, niche content. Social media has the ability to connect individuals based on interests that do not represent the mainstream, uniting fans of lesser known medias in a digital space. This study seeks to uncover the motivations of fans of Appalachian music demonstrated through interactions on their favorite artist’s Facebook pages. We were interested in how fan interaction contributes to the success and promotion of these niche artists. Our interest in this topic springs from industry experience in Appalachian music from two of three group members who are interested in preserving and promoting the genres. In addition to the interest in Appalachian music, the third member has a background in social media dissemination and user interactions in regards to niche audiences. We conducted a qualitative study using personal interviews with fans of artists in the Appalachian and Appalachian-influenced genres of old-time, bluegrass, traditional country, and Americana music. This paper outlines our literature review, methodology, research questions, findings, summary, and references.
Haley Kennedy and family...
Literature Review
Fan interaction in any genre of music can be monitored and tracked via Facebook by means of likes, shares, and comments. The genres we investigated in the Appalachian music spectrum encompass old- time, bluegrass, traditional country music, and Americana sub genres. In the past, in its purest form, Appalachian music constituted mainly an oral tradition, but the creation of mass communication outlets, the reach caused by radio, and social media, has expanded and created a product of music that is more available to the consumer and fan. According to Ataman & Klylk, (2011), “Facebook is among the pioneering environments where users can express opinions within scope of freedom for expression, share various photos and videos, and they can establish any and all kinds of social relations with people” (Ataman & Klylk, 2011). Aside from Facebook relationships with friends and family, users can track artists and produce an additional layer of intimate marketing by means of sharing content. Prior to the existence of social media, this level of promotion existed through other indirect forms of advertising, however social media has provided a more personal channel of marketing.
Ataman and Klylk’s study focused on the use of Turkish Facebook fan pages and audience participation in relation to radio programming. The qualitative study observed the interaction between fans and radio presenters via Facebook fan pages, as researchers conducted in depth interviews with radio personnel. The study explains how other media outlets such as radio and television lead way to the widespread use of the new media the internet, which essentially has created a culture revolving around “media life”. “Media life created key categories of the production, the content and the consumption in terms of communication studies and role of the media in human life” (Ataman & Klylk, 2011). This formula that media follows, paired with social technology, (Facebook) makes way for “citizen journalism”, which has allowed fans to promote their own content. This promotion of personal content is an important element in understanding how marketing messages are diffused on social media.
Integrating the uses and gratifications theory with the dual mediation hypothesis, research from Hsu, Wang, Chih, and Lin (2015) tests a model aimed at understanding how a ripple effect, a phenomenon that causes marketing messages to diffuse more extensively due to the message receivers’ decisions to spreading the messages, or sharing through Facebook, is created in virtual space. Social Networking Sites (SNSs) have become an important vehicle for firms to release news about their products and services as well as a platform through which to communicate with customers (Chu & Kim, 2011; Williamson, 2006). Electronic word-of-mouth, or eWOM, makes the information diffusion scope even wider and larger than traditional media. The rapid growth of SNSs has caused firms to invest in relationships with consumers on SNSs and generate eWOM, which is called a “ripple effect.” The motivations of fans and the eWOM ripple caused through Facebook sharing is important to us as we look to understand the effectiveness of fan support of their favorite bands and artists in our study.
Another study examines the differences in user and fan-reach between popular music in difference cities. “Our focus is on differences in media attention both by professional music critics and consumers, and how this is related to (a) the cities in which artists are located, and (b) the social media resources artists have at their disposal” (Verboord & van Noord, 2014). This case relates to our study by means of geographic location. One of our research questions explores the idea that audience motivations are tied to geographic locations and that geographic location is correlated to the specific type of music fans consume.
If we subscribe to the notion that Appalachian music comes from the Appalachian region, we wonder how this may have changed significantly with the explosion of social media. “Scholars have shown how places matter in bringing together people, sounds and styles, and businesses to produce both artistically innovative and commercially viable music. However, the increasing popularity of the internet in the past decades has diminished the importance of geographical positioning” (Verboord & van Noord, 2014).
As the internet and popularity of social media arises and mass communication connections can be more easily made between users, it may be that geographic location is less important when it comes to artists forming a fan base. The claim that music is tied to a specific geographic location may be altered as we explore the overall impact and modern effects of Facebook fan reach and connectivity.
Social media provides a new route for the travel of information, culture and ideas. Individuals have acquired influence and reach that has transcended time and space in a virtual, asynchronous locations (Fuchs, 2014). As a cultural tool, social media has allowed the trade of different forms of art across geographies that would not be possible without the platform (van Dijck, 2013). Due to the large reach individuals are afforded, people can absorb artistic and cultural influences from locations that never would have visited in person (Mjos, 2013).
In the realm of music, social media has had an impact on the reach and evolution of music. While international music sales have been affected by social media for mainstream genres, (Dewan & Ramaprasad, 2014), little is known about more niche genres that are tied to traditional geography. While pop and rock music have garnered larger fandoms because of the connections made over social media and the internet, (Click, Lee, & Holladay, 2013), the cultural production of music that is indigenous to smaller audiences has yet to be fully investigated (Suhr, 2012).
The characteristics that make social media such an attractive avenue of communication are important to the transfer of ideas, art, and culture. Social media is an asynchronous medium, meaning that information is exchanged at the pace of the user. The connections are not instantaneous online, and instead can wait around for days for others to connect and respond to (Wyrwoll, 2014). This characteristic makes niche audiences more inclined to view their content at their own pace and time, which encourages the exchange of communication centered on art or music. This characteristic also allows far off audiences to engage with information, events, or activities on social media that would not have been available to them in person (Luttrell, 2015). The result of this characteristic is a global audience for indigenous content.
Our focus in studying the motivations of Facebook fan interaction in relation to Appalachian based music and musicians is important because this cultural art-form is under-represented in the commercial scheme of music marketing and promotion. The results of our research would be interesting and useful to artists who use fan pages, invite pages for their performances, CD release parties, and special perks for fans who like their pages. Since it is only recently that social media use has exploded in world-wide usage, Appalachian based music is becoming more represented, especially on Facebook. This offers a rich opportunity to embark on this study, as we seek to understand the motivations of Facebook fans who are actively engaged in communicating with their favorite artists on this popular social media platform.
In terms of Appalachian influenced music, we seek to bridge the gap in knowledge and understanding with regard to the relationship between fan interactions and Facebook content. The quantitative studies that we previously noted focused on trends and patterns of social media use, while we are more interested in targeting attitudes and motives which we feel we can best be studied in the parameters of this paper, as a qualitative work. At this stage, descriptive data is needed in order to allow an applicable theory concerning such fan motivations, and the present research attempts to address the needs of artist’s trying to develop a fan base and attempt to make a living playing Appalachian based music.
We have chosen Facebook as the social media platform of choice for this study. According to Alexa Web Information Company’s Report (2012) the statistics summary of SNSs (Social Network Sites) showed that Facebook has the largest number of user visits with an average 43.33% of Internet users visiting Facebook.com per day. This percentage is much larger than the second largest SNS, Twitter, with average 7.72% per day (Hsu, Wang, Chih, & Lin, 2015).
Methodology
Our research team conducted a qualitative study of the fans of Appalachian based musical artists and asked them questions regarding their use of Facebook in relation to Appalachian music fandom. Our selection of ten participants began with targeting based on the research team members professional contacts in the music industry. This purposive sampling allowed the team to then move to snowball sampling to receive further potential informants that were suggested from the original participants. Fans were selected to represent a cross section of Appalachian based and influenced artists in the specific genres of old-time, traditional country, bluegrass and Americana music as musical artist Facebook pages were targeted by their association with Appalachian genres of music. We selected a cross section of informants by age, location, and interests, particularly in currently performed and presented sub genres, under the umbrella of Appalachian music. We opened questioning of our informants on their Facebook motivations and uses of the like, comment and share features of Facebook, particularly with regard to favorite artists and their fan page content. Personal interviews were conducted, recorded, and transcribed by phone calls, by each team member in our study. Results in trends were determined and unique contributions gathered from each of the ten informants are compiled in the findings and conclusion.
Research Questions
RQ1: Are audience motivations about Appalachian-based music tied to geographic locations or correlated with the type of music they consume?
RQ2: Has Facebook fan interaction broadened the reach of Appalachian-based music?
RQ3: How do artists promote themselves on Facebook to encourage the reach of fan based marketing?
Toni Doman
Findings
A common factor that we observed between all informants is that they have all had similar experiences in regards to their own personal exposure to Appalachian based music. This common demographic helps to better understand the fans of this music and their online habits.
Our first research question seeks to answer if audience motivations in regards to Appalachian based music is tied to a geographic location or correlated with the type of music fans consume. We found that some of our informants expressed that they feel strongly that geography is important while other felt that it was not. Some informants felt that social media has made geography obsolete, as now it is accessible everywhere via the internet. One informant, Morgan, a 27 year old who is the director of a college music program, believes that geography still has an influence on music because the Appalachian region provides accessibility to the music, such as well-established festivals, jams, and other regional musical events. She also felt that Facebook is a great tool for promoting the music itself, by means of the fans and musicians, and (Facebook) is a tool that can draw new audiences to new areas. Patty, another informant, agreed that social media has made geography obsolete, stating that in the past people were isolated by geographic barriers. However, according to some informants, geography still has a major influence on Appalachian music.
One respondent, Anthony 31, who is originally from California, stated that there was a significant difference in the east and west coast in relation to fans of Appalachian based music. In the eastern region of the United States, social networks are already established (music festivals, jams, community music gatherings) while on the west coast, people are more decentralized. The smaller fan population is attributed as the cause of the tendency to use social media in response to geographic distance to Appalachian music origins. Fans in the west coast must connect online in order to gain access to the music, while fans in the eastern region (near the Appalachian Mountains) are more likely to already be connected without social media. A theme that emerged from our research found that informants preferred live musical concerts in their local areas over watching music video clips and online concerts. Paul is 63 and lives in Parkersburg, WV.
"I use online video to listen to a new band or new song from somebody I already like, but I rarely listen until the end. I cut if off and go on to another one. You can’t beat a concert, for the live musicianship, and I really like the conversation between songs, that make a live concert a fulfilling experience.”
Informants felt that live music was still very much an experience that social media cannot provide. Many agreed that various online platforms, especially YouTube, were great tools when learning how to play music, but the fans favor actually attending an event over seeing it online. Informant Dean 27, a professional musician, used the term “casual fan” in regards to the average Facebook fan of Appalachian based music. “Live music attendance for the casual fan is still very active in local communities, and fans will for the most part remain in local areas to see music”. The casual fan remains more so in their local area that is attached to one's community.
Our second research question asks how Facebook fan interaction has broadened the reach of Appalachian based music. A major theme we found was that fans share posts that cause “ripple effect” marketing. In turn, fan based marketing emerges and musicians have a win-win with this form of online marketing. Facebook fans don’t always post and create content, but they do have habits of sharing and promoting events. We have found that musicians benefit from this form of online marketing. All of our informants agree that in the modern day, a social media and online presence is a necessity for being a successful musician.
One respondent, Thomas, 62, from Charleston, WV, credits social media for the success of an ongoing event he organizes. He claims that Facebook is largely the media platform that is responsible for getting the word out in the community about events he hosts. He adds that, “Social media is really the best form of advertising for small businesses”. He goes on to describe how he utilizes Facebook for targeting his audience to attend the events. He is able to reach fans via Facebook, and connects to them on a large scale, inviting roughly 150 individuals to a specific weekly event. This successful strategy brings people to hear his band and plus promotes the restaurant location simultaneously. The marketing potential for artists to connect with fans via Facebook has changed the dynamics of advertising. Another informant, Bud 65, who has had a career as a professional musician stated that, “Facebook has been a probably the most innovative way in my lifetime to promote anything”.
The consensus by our group of informants showed that because of social media and it’s capabilities to reach a large audience, artists must utilize it in order to be successful in today's world. If an artist does not have an online presence, they probably won’t be successful in a competitive market as a band or solo artist. Dean says that without an online presence, an artist doesn't have a very good chance of being successful. “You really need a social media presence these days and that’s not just to like keep up or so the fans can keep up with you, but as a marketing tool to be able to sell your product to be able to get people to come to shows”. However, artists must be active users on Facebook, otherwise fans can become less interested. Fans are more likely to interact and share posts from an active artist or band via Facebook than a part time Facebook user. “I like and share posts primarily from artists that are most active in posting things I like. Things that I see where I log on, at various times during the day, what catches my eye and interests me”.
An interesting theme that emerged from our research also found that fans tend to gather in groups via Facebook pages to connect with other like-minded individuals who follow Appalachian based artists. With Facebook, fans can expand their circle of friends interested in the same music. This grouping of fans supports our hypothesis that Facebook has broadened the reach of Appalachian based music because of fan interactions. As social circles are formed, content is shared, creating an online community and network. Our findings show that fan are the ones who are promoting and sharing content. Bonnie, 31, from Bethesda, MD, feels that any content she shares will help to expose her list of Facebook friends to, “…new ideas and musical influences to show them how cool Americana music can be. I find that sharing posts like this also expands my own social circles online”.
Another fan, Patty, 59, from Pittsburgh, explained how she uses Facebook to follow her favorite bands and artists, to know their tour schedule, and will stay in touch with bands online, engaging her personal friends by sharing events. This network of sharing, liking, commenting, and more helps to internally promote the artists’ work.
Different ideas came forward in terms of the third research question on how artists are seen as promoting themselves and how they could better promote themselves. There were specific ideas and simple suggestions to take advantage of the media. Patty follows different bands and likes how one in particular provides a sense of intimacy: “…to be kept in touch while they were traveling...you feel like you are following their lives. I think it's really important and it's very ... clever way to increase your marketing. I think it is foolish not to take advantage of this opportunity with social media”.
Hillary, 67, from Washington, DC, uses websites and Facebook to plan interviews for her radio station. She wishes bluegrass bands would update their sites with useful information. They could do better: “I don’t care how active bands are, they don’t have to post every day, I just wish they would update their pages with current information on members, touring, and new music releases. They may be out promoting their new CD and they don’t even have it listed on their sites”. Anthony promotes two festivals and works to promote individual artists. “I run a couple of Facebook pages for musicians, and it is definitely a necessity. You absolutely have to have it and you have to be producing content through it all the time”. These frustrations expressed by industry professionals demonstrate a need for more consistent social media engagement that is symbiotic between fans and artists.The lack of consistent Facebook engagement might stem from the tendency in Appalachian music to be self-promoting and independent, leaving less time for social media management.
Conclusion
This study attempted to outline the effects of fan motivations on Facebook engagement, and how that engagement promotes Appalachian musicians and bands. Through in-depth interviews, three findings emerged that provided insight into Appalachian music fandom, Facebook use, and motivations of niche audiences. Appalachian music fandom is unique from other genres in that it is inherently tied to geographic location. This indigenous characteristic had mixed consensus from informants who thought social media made geography obsolete, but also insisted that live music was the preferred listening experience. These nuanced circumstances relate to another finding that highlights fan motivations: despite the claims that geography has been made irrelevant, informants indicated that social media becomes more important as the distance from Appalachia grows. This importance is attributed to the lack of popularity in other locations, like California, where the density of Appalachian music fans is far less. Because of the lack of saturation, it is more difficult to find live Appalachian music and therefore requires social media to supplement for the distance.
The density of fans in geographic location may have an effect on the importance of social media, but the practice of sharing information about music events, venues, jams, and festivals was uniform across all interviews. Individuals share events with friends and followers, effectively advertising for the musicians playing these events. This study supports the idea that the “ripple effect” is a major factor in spreading eWOM that gets individuals to physically attend performances.
Insights about how to better advertise to Appalachian fans and niche audiences through social media are impacted by the ripple effect and social networks. In the case of Facebook and Appalachian music, the social platform helps connect those who are long-distance fans of indigenous music connect with real-life performances. These methods of Facebook engagement insinuate methods of marketing that can be better employed by Appalachian artists and bands. By remaining consistent in their updates, including mixed medias like video and photographs, and posting schedules and event calendars, artists can utilize Facebook more effectively as a tool for marketing. Despite Appalachian music’s indigenous nature, social media has allowed fans to connect in any location, while also providing a larger audience for artists and bands.
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