Running head: TODAY’S TOUCH

Today’s Touch: How We Are Connected to Music in the Digital Age

Nicole Maratto
Endicott College
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Abstract

The ways in which music is distributed have changed completely in the last decade. Consumers

can get songs now at the touch of a fingertip through digital streaming music platforms. Studies

show that consumers often connect emotionally to the music they listen to and those who share

their interest in songs. Although scholars have highlighted the transformation of music

distribution over the years, they have failed to explore the emotional connections users have

formed through sharing music on digital streaming music platforms. A study was designed to

find out more about how users of streaming music platforms connect to music emotionally, share

music and connect to one another because of it. The survey showed that women between 18 and

23 are more likely to respond emotionally to music and share it through text message and digital

streaming music platforms. Limitations included not enough time to gather data and not enough

participants to generalize the results. Future research should focus on the differences between

men and women’s emotional connection to music and what platforms each gender uses most,

through which methods they share music and whether or not they are finding people to connect

with emotionally through music sharing.

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Introduction

Music is expressive and provocative, it’s raw and emotional; it has the power to touch

many people. It does not matter if an artist is black and the listener is white because music

reaches past divisions and has the potential to connect people throughout the world. It is also a

big business: global music revenues totaled US$15.7billion in 2016 (IFPI, 2017). Physical

format revenues declined by 7.6% in 2016 but digital formats grew by 17.7%, and all over the

world more than 50% of all music purchases are digital (IFPI, 2017).

According to Titlow (2016), since streaming sites have been created, music listening has

gone way up, but it is only in the last year that the industry “saw its first signs of true growth

since the internet started ravaging it a decade and a half ago” (para. 1). Revenues for sales of

music on streaming services rose 60.4% in 2016 (IFPI, 2017), and music flows around the world

very quickly on streaming apps like Spotify and Apple Music and through social media

platforms like Instagram and Snapchat. According to Sen (2010), “geographic distances and

national boundaries have become irrelevant in distribution and dissemination of music” (para. 1)

thus illustrating that music has a global impact.

Since individuals live in a digital decade where social media and technology plays a

major role in our lives, the ways people learn about and listen to music has changed. Social

media is the modern-day record store. On social media people find new music to listen to and

discover new bands. They also use social media to follow artists they know. For example, years

ago if a listener learned that a new Michael Jackson album was coming out; they would go to the

record store to buy it. Jackson’s album Thriller has sold 100 million copies worldwide, with

close to $1billion dollars in sale, and was the first album to be declared thirty times platinum

(Cabrera, 2017). But now streaming has enabled one song from that album, “Beat It” to be
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streamed 300 million times via YouTube (Cabrera, 2017). Listeners have learned about songs

like this and services like this through Facebook, Instagram, Snapchat, and Twitter and order the

album through Spotify or Apple Music. Therefore, because of the World Wide Web individuals

are all connected.

Because everyone is connected with technology, the distribution model for music has

changed completely. Sen (2010) wrote, “The convergence of music production, creation,

distribution, exhibition and presentation enabled by the new communications technology has

swept through and shaken the music industry” (para. 2). Along with traditional advertising, there

is much more personal sharing of music. Fans have created a following for the bands and artists

they love, and they distribute the music to one another, creating a market for it, without even

setting out to do it for commercial reasons. These fans influence the industry in a way they never

could before when music was distributed in traditional ways only. Despite the changes in the

music industry and the way fans learn about and share music, music remains an important part of

everyday life. Therefore, this study aims to explore the potential connection that users of music

streaming services can form globally or emotionally. More importantly, how the distribution of

music can be a catalyst for emotional connection as well personal relationships.

Evolution of Music Distribution

The evolution of music distribution is important in today’s society because it plays a role

to music fans around the world. This section aims to explore how consumers accessed or

purchased music over the years while emphasizing the move to digital platforms.

Records to Digital. Consumers once purchased physical records or tapes at physical

stores. Now consumers preorder for download through iTunes, create and share playlists through

Apple Music and Spotify, and post information on social media platforms about bands and songs
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they like. According to Arditi (2017) “before the digital era, music consumption was limited to

purchasing LPs, tapes and CDs, or attending concerts” (p. 1). Brown and Knox (2016) agreed

with Arditi (2017), saying that distribution and promotion of music has changed because of the

digital revolution. Bishop (2005) also agreed and said that we are living in a consumer digital

age, calling it a “new environment” (p. 444).

Now because of streaming services like Spotify, Apple Music and social media like

YouTube, Instagram, and Snapchat, consumption of music happens in many different ways

(Arditi, 2017). Kruse (2010) agreed with this, saying people can connect with each other through

music with the internet and across “localities, regions, countries, and continents” (p. 625).

Through streaming services, people connect with one another by sharing music (Hagen &

Luders, 2016). Streaming services like Napster started this revolution in 1999. Even though it

was illegal, it showed how easily and quickly people could get music and share it with peers over

the internet (Brown & Knox, 2016). Sisaro (2017) described how streaming services drove U.S.

music sales up 11% in 2016 and how streaming is “rapidly eclipsing all other forms of

consumption” (para. 3). Sisaro (2017) also said that “streaming contributed $3.9 billion in 2016”

while subscriptions to Spotify and Apple Music sustained the business (Sisaro, 2017).

Digital Distribution. Streaming is very important but there are still other ways people

find out about and consume music. Some people still consume music by visiting record stores,

and there are still opportunities to sell music that way (Kjus, 2016), while other people learn

about music from listening to the radio. Fauteux (2017) wrote about how public radio supported

music with programming, blog posts and music features. However, Epps and Dixon (2017) said

consumers do not get as much choice or hear as many songs from radio listening as they do from

digital streaming. Brown and Knox (2016) stated even though 39% of revenue in the music
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industry comes from digital services; people still possess a physical music collection and actively

listen to them. Pikas, Pikas, and Lymburner (2011) stated that even though CDs, cassette tapes,

and vinyl LPs gradually become more insignificant, CDs are still the leader in the music industry

surpassing online downloaded music.

On the other hand, Yochim and Biddinger (2008) expressed that vinyl records have been

articulated with human characteristics, such as “fallibility, warmth and mortality, which for

recorded enthusiasts, imbue vinyl with authenticity” (para. 2). In contrast, Hayes (2006)

indicated that youth consumers are turning their backs on traditional practices of buying music,

instead they are downloading favorite songs and implementing them into their own digital

libraries on their computer and iPods.

Music Sharing and Social Media

In today’s ever-changing technology- driven society, social media plays a significant role

in the distribution and sharing of music. It is a way where fans can connect to artists and artists

can connect with their fans, which goes beyond just listening to an album. Now fans can

comment, like, share and tag, which allows them to create new relationships based on the music

they like.

Music Purchasing Habits. Purchasing music doesn’t depend only on what listeners like,

it also depends on what device listeners own and how listeners intend to enjoy the music. Titlow

(2016) wrote about how more music is being purchased for listening through home devices like

Google Home. Miquel-Romero and Montoro-Pons (2017) researched the connection between

music purchases and the device purchased to play the music on. These researchers concluded

that the device chosen plays a role in self-expression for the user. It is not just the music that

helps people express themselves, but the device (Miquel-Romero & Montoro-Pons, 2017).
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However, Bishop (2017) discussed how purchasing habits can be controlled by companies

because of what they make available to their listeners, so free choice is not always what

promotes purchases. On the other hand, Sen (2010) said that there is a disconnect between what

the music industry wants consumers to like or buy and what they actually like or buy. The

researcher also said that more music than ever is being bought but consumers buy tracks or songs

rather than whole albums (Sen, 2010).

Music Sharing Habits. Music sharing over the internet began with the illegal download

program called Napster. It was the first of its kind and would lead to legal streaming services,

including Pandora, Spotify, Apple Music, YouTube, and Amazon Prime. However, there are

many other ways and other places that music is shared. Carch (2015), for example, studied the

connection between branding, devices, and events that work together to promote music sharing

habits. Music sharing is personal, unlike the radio; listeners have more freedom and control over

what they listen to through sharing. Epp and Dixon (2017) studied the difference between the

kinds of rap song that is shared on social media versus the kind of rap song on air. However,

Kornhaber (2016) wrote about how Tinder, a “nonmusical” platform and Spotify a digital

platform, are collaborating and pairing up, to connect people at silent raves with similar music

interests for people to share their favorite songs and playlists with one another.

Glantz (2016) studied streaming services to see how they bring music to fans. However,

Bishop (2017) researched how music companies try to control and monopolize the industry to

limit what listeners are exposed to. In contrast, this is the opposite idea of the “openness” of

digital sharing. Epps and Dixon (2017) investigated whether fans in the streaming age are more

powerful than music companies to get music heard and shared and concluded that people make

conscious choices based more on what they hear about from friends online.
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Fandom and Person-to-Person Connection

Nowadays, when artists are promoting themselves and their brand they rely heavily on

their fans to support them through social media. Currently, the power of the internet allows

unknown artists to get noticed and also always fans to connect with other fans. Through social

media and streaming, fans and artists are able to host contests, live performances and most

importantly, build long lasting relationships.

How Artists Connect to Fans through Social Media and Streaming. Artists also use

social media like Instagram, Snapchat, and Twitter to promote a following for their music and

form close, personal connections with their fans. Arditi (2014) explored the inconsistency

between the Internet’s potential to give musicians and fans more access to each other. In

comparison, Sen (2010) looked at the ways fans and artists come together with no limitations on

the internet. Haynes and Marshall (2017) researched how the Internet makes opportunity for

independent musicians to expose their craft and sound to potentially connect to a record label or

be discovered. Some artists, such as rap musicians, use social media to promote ideas to fans

about politics and community engagement (Epps & Dixon, 2017).

How Fans Connect to Each Other through Social Media and Streaming Services.

Hagen and Luders (2016) discovered how music-streaming services embed social features that

enable users to connect to one another and use music as social objects. On the other hand, Carch

(2015) studied how people responded to music at a festival and then how they shared it through

social media, indicating how real time experiences can affect what music is shared. Danielsen

and Kjus (2017) agreed with Carch, saying that as the music services have changed, it has

changed the experience of seeing music live. The researchers also said that fans now expect more

from live music than they ever did before because of the availability of music through streaming
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(Danielson & Kjus as cited in Danielson and Kjus, 2017). However, Sen (2010) studied how fans

of different bands, as well as music, find each other through social media and see themselves as

part of a bigger world of fandom through their online experience.

Music Sharing Concepts

The topic of music sharing lends itself to many communication-based theories that focus

on how music sharing has evolved in the ever-changing media landscape. In order to fully

understand the connection between music sharing and the field of communications, it is

Imperative to highlight theories that connect and expand upon how music sharing has impacted

our culture.

Participatory Culture. During the first phase of music distribution, listeners were

labeled as consumers. Most recently, with the creation and popularity of social media and the

smartphone, consumers of music have now developed into participators. For instance, within

Carah’s (2017) study, the researcher looked at how big brands such as Coca-Cola, Virgin and

Smirnoff use participation from music festival audiences to gain exposure for their brands. Carah

(2017) stated that “this form of participation was primarily discursive; brand and consumer

worked together to create and act out shared values” (p. 385). More specifically, Carah (2017)

determined that consumers are now participators because with the emergence of social media

and smartphones, participation has been altered. Carah (2017) continued by defining

participatory culture as “the participation of users in the creation and circulation of content and

the collection and application of data structure” (p. 385).

Additionally, Glantz (2010) expanded on Carah’s (2017) participation theory by studying

how 12 music-streaming services create participation opportunities in order to fit into the lives of

their music fans. Glantz (2010) highlighted how music-streaming services have formed a section
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entitled “Your Music”, where music fans can create and store music playlists that have been

curated by them. Furthermore, Hagen and Luders (2016) study also focused on streaming

services Spotify and Tidal. With a focus on participation, Hagen and Luders (2016) described

how music-streaming services enable users to review and give feedback to friends that they

follow on these services. Hence, participation plays a large role in music streaming services,

where users are invited to participate with the music and their friends. In short, music sharing

and participatory culture are linked directly; however, it is also significant to look at the theory

of crowdsourcing and the role it plays in our digital landscape.

Crowdsourcing. According to Wang, Salazar, Oh, and Hamilton (2014) it is possible to

change the way people learn about and share music through crowdsourced musical interactions

that are based on mobile devices. Crowdsourcing is evolving because of new computer

paradigms, new technologies and lead to brand new possibilities of sharing (Wang et al., 2014).

For instance, Galuska and Brzozowska (2017) analyzed the phenomenon of crowdfunding from

the perspective of its democratizing influence on the music market. In fact, crowdfunding

enables artists to finance the release of their records, which theoretically allows them to enter the

music market without the intermediation of traditional record labels, wrote Galuska and

Brzozowksa (2017).

While it could be argued that crowdfunding platforms help democratize the music

industry, Haynes and Marshall (2017) said we should be wary of this argument. For example,

when we think about crowdfunding, “there is a tendency to focus on individual cases and success

stories rather than more general trends” (Haynes & Marshall, 2017, p. 6). If these artists are well

known or even famous, it skews our ideas of what is possible for the average independent

musician. Haynes and Marshall (2017) also pointed out that “the artists who are most often held
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up as exemplars of leveraging the power of social media to develop flourishing independent

careers are those who had established audiences before the emergence of these new media (p. 6).

Promoting Music Through Traditional Platforms

Fifty years ago people watched a television program like The Ed Sullivan Show, to hear

and learn about new music, as well as to see their favorite artists perform. Placing music from hit

artists in films was a new way to reach consumers and engage them musically, not just through

the drama of the film. Decades later, MTV (Music Television) created ground breaking waves in

the music industry by playing artist music videos all day every day, even creating a top 20 music

countdown, to inform music consumers of the hottest hit. Even though these are old forms of

media, they are still prominent in today’s digital era.

Traditional Media (radio, television, films, broadcast advertising). Consumers have

traditionally learned about music through radio playlists but also music that is included as part of

soundtracks through movies, television shows, and broadcasts ads. Glantz (2016) researched the

ways that streaming services are connected to traditional radio. The names the series used are

anchored in “radio” words – Radio, iTunes Radio, and iHeartRadio – even though use of

streaming services is completely different than using the radio. Streaming allows consumers to

choose, but in traditional radio, consumers have to listen to whatever the radio station plays

(Glantz, 2016). For example, iTunes Radio calls itself “radio reimagined” (Glantz, 2016, p. 40).

Social Platforms (Tinder, Snapchat). In the early 2000s, when people used CDs, if a

consumer decided to share a CD that they had purchased with someone else, they would make a

copy of the CD (or burn it), or select songs from that CD, put them together with other songs and

make a mixtape – or a re-formed CD. This turned a consumer into a participator but there was

still a physical item to be shared. Arditi (2014) described the next phase of sharing; describing
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how digitizing music allowed sharing through the computer. Now social platforms, the next

phase of digital communication, have taken the physical part out of sharing music. Social

platforms offer another way to learn about music and for music to be distributed, and platforms

and streaming services are linking up. Social dating platforms like Tinder and music platforms

like Spotify are pairing together to drive millennial dating (Kornhaber, 2016). Users of Tinder

use their soundtracks on their own personal Spotify account to show on their Tinder profiles to

attract dates and to see if they will be compatible musically with potential partners or “new

suitors.” For this to work, both parties have to be on Tinder and be a user of Spotify (Kornhaber,

2016).

Digital Convergence. When music consumers hear a song on a television program or a

film, they can use an app called “Shazam” that identifies the song and the artist, where you can

get the song (download or purchase) and connect with other people that like that song. Shazam

has paired up with Snapchat to consumers can identify the music individuals use on their

Snapchat also. This is digital convergence with music. According to Hilmes (2013), all forms of

media (music, television, radio, film, Netflix, and online digital channels) relate to one another

and are seen and heard through different mediums. All go hand in hand in promoting one

another and promoting the material available through these mediums. Hilmes (2013) used the

term soundwork to describe this, saying that aural media – music, speech, and noise -- exist on

their own and as they accompany or complement visual media (like a soundtrack to a film).

Hilmes (2013) stated that “sound has become a screen medium on sites like iTunes, Pandora, and

Spotify; in podcasts and online archives and radio streams; and in new hybrid forms like

YouTube, audio slideshows, and digital soundscapes” (p. 177-178).

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The use of songs in video games is another way that music turns up through digital

convergence. Groups like Metallica show up in video games like Guitar Hero (Arditi, 2017).

Metallica is also heard in films like The Hunger Games. This helps people learn about the music,

engage in the content, and share the music through social platforms (Arditi, 2017). Digital

convergence has changed music consumption. Consumers can hear a song as they shop, or hear

it on a commercial, and then buy it either from a store or from a digital platform (Arditi, 2017).

Conclusion

This review of the literature explored the evolution of music distribution, music sharing

and social media, provided a theoretical framework, and investigated promoting music through

traditional platforms. Brown and Knox (2016) said that distribution and promotion of music has

changed because of the digital revolution. Bishop (2005) agreed and said that consumers are

living in a digital age, calling it a “new environment” (p. 444). Now because of streaming

services like Spotify and Apple Music, social media like YouTube, Instagram, and Snapchat,

consumption of music happens in many different ways (Arditi, 2017).

According to different researchers, music is frequently shared via social media platforms

and streaming services (Epps & Dixon, 2017; Glantz, 2016). However, it is still important to

consumers of music that they experience live events and share them with their social media

networks. The music they are listening to is important but their experience of being at the concert

such as their feelings about the venue and their interaction with the people around them is also

important (Danielsen and Kjus, 2017). Despite this, record companies still have a heavy

influence in music purchasing and what we listen to by whom they are promoting and how they

are featured on streaming services (Bishop, 2017; Miquel-Romero and Montoro-Pons , 2017;
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Sen, 2010). Finally, people are motivated to buy and share music based on the devices they like

to listen on (Carch, 2015).

Another area explored is how artists connect to their fans through social media and

streaming of their music. The internet has given a new meaning to the connection between artists

and fans, helping them feel like they know one another (Arditi, 2014). Fans and artists come

together with no limitations on the internet (Sen, 2010). These fans also connect to each other

through social media and streaming services. Fans find community through their mutual passion

for bands and musicians thus seeing themselves as part of a bigger world of fandom through their

online experience (Sen, 2010). People also learn about music through traditional platforms but

even today traditional platforms like radio and television are connected to streaming services

(Glantz, 2016).

The most intriguing idea from the literature review had to do with how music is

distributed through social media platforms not intended for music such as Tinder and Snapchat.

This is an example of digital convergence (Kornhaber, 2016). All forms of media (music,

television, radio, film, Netflix, video games, and online digital channels) relate to one another

and are seen and heard through different mediums (Hilmes, 2013).

After reviewing previous literature, there were clear gaps within the research. Although

scholars highlighted the transformation of music distribution, they failed to explore the

emotional connection that users have formed because of the new use of digital music platforms.

By looking at the power of sharing music through social media, researchers could better

understand how music can connects users emotionally. More specifically, the researchers did not

study the emotional impact of music on its users and how their playlists reflect emotions such as

happiness or sadness and how the songs they choose might attract other listeners. Additionally,
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scholars did not investigate how music streaming platforms such as Apple music, Spotify,

Pandora, Soundcloud and Tidal enable users to connect, share and listen to playlists and songs

that they might not have come across through close friends and family.

H1: Social media platform users form an emotional connection with people through

music when sharing their own music online.

H2: Users of music streaming platform have a connection with the people they share

playlists and songs with.

Methodology

Data Collection Method

For this study, a survey was created to collect data. The data that will be collected will

provide information about the distribution of music around the world in the digital age. The

findings explored and identified the emotional connection people have to music and the ways

that the emotional connection makes them share the music through digital platforms with other

people. The survey method was chosen because of its ability to reach a wide range of people in a

short amount of time and to get results efficiently. The results can be generalized if the

researcher gets enough results. In addition, the survey method is important to the research

because it is discovering new findings from as many different people as possible during the short

time that the researcher has to conduct the study. According to Lindlof and Taylor (2011), “a

survey is the most efficient means of finding out” what the researcher wants to know (p. 109).

Lindlof and Taylor (2011) also stressed the use of survey for identifying and connecting

variables for the study.

The data helped answer the two hypotheses posed for this study. The first hypothesis

states “Social media platform users form an emotional connection with people through music
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when sharing their own music online.” The second hypothesis states “Users of music streaming

platforms have a connection with the people they share playlists and songs with.” The method of

survey helps answer these hypotheses by better understanding participants’ behaviors

surrounding music streaming.

Participants and Procedures

The target demographic of this study are men and women ages 18-50 who both listen to

music and post their own playlists by using music streaming platforms such as Apple music,

Spotify, Pandora, Soundcloud, and Tidal. This target audience was chosen because the researcher

felt that this age range would be the ones most likely listening to music and posting about it on

social media. Similar to Miquel-Romero & Montoro-Pons (2009) survey and questionnaire of

young adults, they aimed to better understand why users share music and what it means for their

self-expression. Using the snowball effect via social media, stating what the survey is about and

the target audience, should ensure that the survey reaches the right participants. Social media use

includes Facebook, Instagram, Twitter, email contact lists, and selecting people within the

researcher’s personal network. The researcher also used email in order to distribute the survey to

individuals who are not avid social media users as well. The survey was released on Tuesday,

February 27, 2018. The survey will close on Tuesday, March 15, 2018.

Measurement

The researcher aimed to figure out if there was a causal relationship between the

dependent and independent variables. The independent variable in this study is “sharing of music

online” and the dependent variable is “the emotional connection.” Respondents to the survey will

be asked questions such as “What music streaming platform do you use to listen to music?”, “If I

feel an emotional connection to a song, I am more likely to share it through social media” and
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“Music forms relationships with people you would normally not connect with.” Respondents to

the survey will be asked questions such as “Do you share songs, albums, or playlists through

social media platforms?”, “What platforms are you most likely to post on when sharing music?”,

and How likely are you to message or contact the person who shared the song, album or

playlist?” The response options within the survey are a variety of Likert scale questions that will

determine if the participant was likely or not likely. The survey can be found in Appendix A.

Results
Once receiving responses, the researcher calculated the data and organized it by

formulating it into data tables. Each table below offers data that aims to determine if the two

hypotheses are valid. The results of certain surveys questions were cross tabulated in order to

compare data.

The results of the survey question regarding if music users are likely to message other

users who share songs, albums or playlists was positive. According to Table 1, that looks at age

compared to if they would message someone shows that the 18-23 year olds are 28% (n=21)

likely to message an individual who shared music. Additionally, within the 18-23 year old

category 24% (n=18) were not likely to message the person who shared the music.
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Table 1: Age vs. Message

Very
Likely Neutral Not likely Unlikely likely

28% 18% 24% 18%

18-23 (n=21) (n=14) (n=18) (n=14) 12% (n=9)

24%
24-30 43% (n=9) 24% (n=5) (n=5) 9% (n=2)

31-37 25% (n=1) 25% (n=1) 50% (n=2)

38-44 50% (n=1) 50% (n=1)

45%
45-50 18% (n=2) 18% (n=2) (n=5) 18% (n=2)

Similar to Table 1, the second table below compares gender to the likelihood of music

users to connect with someone through music. The results show that females are 49% (n=39)

likely to connect with people through music. Also, females were 15% (n=12) very likely to

connect with people through music.

Table 2: Gender vs. Likelihood to Connect

Not Very
Likely Neutral likely Unlikely likely

49% 30% 15%

Female (n=39) (n=24) 5% (n=4) 1% (n=1) (n=12)

33% 10%
Male 30% (n=9) (n=10) 7%(n=2) (n=3) 20% (n=6)

Prefer not to
say 1% (n=1)

Within Table 3, the emotional connection that music consumers have is depicted. When

comparing gender to the emotional connection that consumers have, 24% (n=19) of females
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agreed that they did feel an emotional connection when sharing their songs and also 19% (n=15)

strongly agreed as well.

Table 3: Gender vs. Emotional Connection

Strongly Strongly
Disagree Disagree Neutral Agree Agree

14% 21% 24%

Female 23% (n=18) (n=11) (n=17) (n=19) 19% (n=15)

Male 13%(n=4) 23% (n=7) 13% (n=4) 23% (n=7) 27% (n=8)

Table 4 depicts if participants share songs and when they do, which platform they share it

through. The table shows that the most predominant platform utilized when sharing music is

through text message. For instance, 46% (n=11) of the participants share music and when they

do, they share it via text message. Another significant result is that sharing music through the use

of Snapchat is highly used as well. Of the participants, 25% (n=6) agreed that they used Snapchat

to share music.
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Table 4: Sharing Songs vs. Platform

I don't Word
share Reposting on Text of
Facebook music Instagram SoundCloud Snapchat Message Twitter mouth

17% 25% 46% 4%

Agree (n=4) 8% (n=2) (n=6) (n=11) (n=1)

14% 21% 21% 36% 4%

Disagree (n=4) (n=6) 4% (n=1) (n=6) (n=10) (n=1)

15% 8% 15% 15% 38% 4% 4%

Neutral (n=4) (n=2) (n=4) (n=4) (n=10) (n=1) (n=1)

Strongly 14% 57% 29%

Agree (n=1) (n=4) (n=2)

Strongly 67% 7% 22%

Disagree (n=18) 4% (n=1) (n=2) (n=6)

Table 5 illustrates how people are sharing music and what platform they are sharing it on,

and how likely the participant is to share music through word of mouth. For instance, 43%

(n=23) of the participants were likely to share songs through text messages, while 11% (n=6) of

the participants were likely to share songs on Facebook, rather than through word of mouth.

Another shocking result was that only 2% (n=1) of the participants were neutral about sharing

music through word of mouth.

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Table 5: Word of mouth vs. Platform

I
don't Reposting
share on Text Word of
Facebook music Instagram SoundCloud Snapchat Message Twitter mouth

17% 15%
Likely 11%(n=6) (n=9) 8%(n=4) 2% (n=1) (n=8) 43%(n=23) 4%(n=2)

33%
Neutral 33%(n=4) (n=4) 17%(n=2) 17%(n=2)

Not 67%
likely (n=2) 33%(n=1)

1%
Unlikely (n=2)

Very 21% 29%

likely 10%(n=4) (n=9) 2%(n=1) (n=12) 33%(n=14) 2%(n=1) 2%(n=1)

Within table 6, age is compared to how music forms relationships with people you would

normally not connect with. For example, the age category of 18-23, agreed by 38% (n=28) that

they would form relationships with people by connecting through music. In addition, 21%

(n=15) strongly agreed in the age range of 18-23 that music forms relationships with people they

would not normally connect with. On the other hand, in the same age category 27% (n=20) of the

participants were neutral on this statement, while 14% (n=10) disagreed that they would form a

relationship through music with people they normally not connect with.
TODAY’S TOUCH 22

Table 6: Age vs. Music forms relationships

Strongly Strongly
Agree Disagree Neutral agree disagree

18-
23 38%(n=28) 14%(n=10) 27%(n=20) 21%(n=15)

24-
30 38%(n=8) 10%(n=2) 38%(n=8) 14%(n=3)

31-
37 75%(n=3) 25%(n=1)

38-
44 2%(n=1) 2%(n=1)

45-
50 42%(n=5) 33%(n=4) 8%(n=1) 17%(n=2)

Table 7 demonstrates ones gender and if music forms relationships with people around

the world. Over 48% (n=38) of females strongly agreed that they could form a relationship with

people through music around the world. While only 50% (14=15) of males agreed that they

could form a relationship with people around the world through music.

Table 7: Gender vs. Music forms relationships around the world

Agree Disagree Neutral Strongly agree

Female 39%(n=31) 4%(n=3) 9%(n=8) 48%(n=38)

Male 50%(n=15) 20%(n=6) 30%(n=9)

Discussion
Both hypotheses related to the forming emotional connection when social media platform

users either share or post music online. The first hypothesis proposed that if social media users’
TODAY’S TOUCH 23

share or post music online, they feel connected to others. The second hypothesis said that social

media users feel connected to people who share music with them when they post their playlists

or songs online.

It is of significance to better understand how hypothesis one was answered by the results.

Hypothesis one claimed that social media platform users form an emotional connection with

people through music when sharing their own music online. Studying the questions that

highlighted the emotional connection that users can form through music, the majority of females

strongly agreed or agreed that music plays a role in forming an emotional connection. These

results could enable artists, music producers and marketers to better understand who to target

when marketing and advertising music to consumers and how to market and promote music to

tap into this desire to make emotional connections. Additionally, within the results, when

comparing age and if music discovered on music streaming platforms forms emotional

relationships, the younger participants, age 18-23, agreed that music helps to form relationships.

These findings could have formed because the younger group could be more capable of

operating the music streaming platforms because they understand technology better. These

results could help marketers, music producers or artists to target 18-23 year olds when selling or

sharing music online. Overall, hypothesis one was correct in saying that social media platform

users do believe that music helps form emotional connections and relationships. Research

identified the connection between participatory culture and music streaming platforms (Carah,

2017; Glantz, 2010; Hagen & Luders, 2016). Participatory culture is all about the effort to form

connection in whatever way is available, and music-streaming platforms are a way through

which this participating can happen.

TODAY’S TOUCH 24

Hypothesis Two said that users of music streaming platforms will feel an emotional

connection to social media users who post their music online. The literature said that music is

frequently shared via social media platforms and streaming services (Epps & Dixon, 2017;

Glantz, 2016). Hagen and Luders (2016) studied Spotify and described how music-streaming

services enable users to review and give feedback to friends that they follow on these services.

The researcher thought that users would take advantage and use these streaming services to

connect to others. The researcher agreed with the literature. The majority of participants between

the ages of 18-23, as well as the majority of participants from 24-30 indicated sharing music

enabled relationships to form. This was not surprising, but what was surprising was 50% of those

between the ages of 45-50 also agreed. These older participants, maybe trying to learn about and

participate in youth culture. This result could suggest that the older generation is open to

connecting through streaming services. If these older users of technology are willing to change

their habits around accessing music and relating to other people, this may be of interest to

advertisers and promoters who want to connect digitally with this age group.

According to the literature the millennials should be sharing and distributing music

through these platforms (Arditi, 2014; Korhhaber, 2016). But the literature doesn’t talk about

how relationship building through these platforms and doesn’t specify what gender is more prone

to connecting with people and building relationships with people around the world through

music streaming services. This is something that the study showed clearly. Eighty-seven percent

of females (see Table 7) agreed that music forms relationships around the world while only 80%

of men do. Therefore, it’s more or less gender neutral. Both genders are open to connecting

globally through music at a very high rate. These results cover all the ages of those participating

in the study. Marketers and advertisers, therefore, should think about all genders and generations
TODAY’S TOUCH 25

when promoting music. They can also think about worldwide campaigns rather than campaigns

targeted at certain countries.

Limitations
The researcher believes that the way the questions were formed may have confused

participants. The Likert scale was set up in the reverse on Question 6, which was an important

question to the survey. Strongly disagree, meaning 1, was the first choice and 5, meaning

strongly agree, was the last choice. People might not have realized what they were answering,

because of how the scale was formatted. The scale was different than all the other scales. The

results didn’t support the hypotheses, and that could have been the reason. For example, the

literature said that users of streaming platforms participate by posting songs. The results of the

survey did not reflect what the researcher expected. The assumption was most respondents would

indicate they shared songs.

Looking back on the overall formatting of the survey questions, the researcher believes

that the questions could have been better composed and more clear. For instances, if the survey

were to be redistributed, the researcher would add Latin/Spanish music, as one of the music

categories for what types of music the participants likes. Also, if there were more time for the

survey, the sample size could have been larger, therefore allowing for more representative data

for the research. If there was more time, the survey may have been able to be made more

thorough and allowed for a more detailed analysis. For instance, the survey could have been

distributed on more platforms then Facebook, Email, Instagram, and Snapchat, as well as

distributing the survey multiple times throughout the course of a day.

An alternate adjustment the researcher would have made through the survey is to have a
TODAY’S TOUCH 26

bigger demographic. Not just to limit they survey to people who are 18 to 50. Furthermore, the

researcher could have done more extensive researcher on male and female music habits and what

platforms they use. Again if the researcher had more time, they would have made the survey

more global and would have been able to distribute it more globally. Most the participants are

from the Northeast. If the survey reached more of a global audience, the results could have been

vastly different and more comprehensive, if the researcher could have reached people in different

geographic regions.

The target subject for the researchers study was in the same socio-economic group. The

results could have potentially differed if the survey was geared towards lower class people, who

did not have assesse to streaming surveys or any type of mobile devise. Future research could

hold a focus group to explore with males and females, conducting a series of questions base on

their gender and strictly the emotional connecting the feel and share for music.

Conclusion

This study provided a comprehensive look into how people are sharing and distributing

music in the digital age. This research was designed to find out more about how users of

streaming music platforms connect to music emotionally, share music and connect to one another

because of it. Through the surveys taken by respondents, results pointed towards positive claims

that social media platform users form an emotional connection with people through music when

sharing their own music online, as well as that users of music streaming platforms will feel an

emotional connection to social media users who post their music online.

When analyzing the research, the data that stood out was, that certain age groups and

genders were more responsive to these claims. These findings are important to the musically
TODAY’S TOUCH 27

engaged culture because it demonstrates how music is prevalent and effects people no matter

their age or gender. Certain age groups and genders were more receptive of emotionally

connecting of streaming platforms because they are heavily utilizing streaming service

applications. For instance, 18-23 year olds are more technologically savvy when using their hand

held devices, which in turn allows them to be more emotionally connected to people, places and

things via their smartphones.

These findings could lend itself to further research regarding the pairing of music

applications and dating applications. Specifically, in order to better understand how emotional

connections can lead into romantic relationships through the power of sharing music online.

Also, future research should hold a focus group to explore with males and females, conducting a

series of questions based on their gender and strictly the emotional connection they feel and

share for music. Additionally, future studies should take a look at how navigation on a music

streaming application can effect a user’s connection to music. For instance, if a user can navigate

Apple Music easier than Spotify, one could say they would enjoy their music experience more.

These results can help shape the future of how we are sharing music, what we are

sharing it on, and who is doing the sharing. The findings within this study could impact the

market of what consumers’ companies can target through advertisements and music. This

research aimed to demonstrate how music can often times be an escape or catalyst to form

relationships all over the world. Overall, music can form relationships and break global barriers.
TODAY’S TOUCH 28

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TODAY’S TOUCH 32

APPENDIX

Instructions: Please fill out the survey to the best of your ability as honestly as possible.

You are invited to participate in this research study that is trying to learn more about how the

distribution of music around the world in the digital age plays a role in our day-to- day lives. The

results of this study may help may help marketers, advertisers, music artist, and users.

In this study, you will be asked to complete an online survey that will take 10 minutes to

complete. Your anonymity will be preserved in this study because any data collected from you

will be kept separate from your name, contact information, and/or other personal identifiable

information. In other words, no one will be able to link your name with any information or data

that you provide for this study.

Your participation in this investigation is entirely voluntary. You may withdraw your consent

and terminate your participation at any time during this study without penalty by exiting out of

the survey link.

If you have any questions about this investigation or are interested in receiving a copy of this

research report, please contact the primary researcher Nicole

Maratto, nmara404@mail.endicott.edu, (914-391-8747) or the faculty instructor (Professor

Randal Livingstone, rlivings@endicott.edu, 978-998-7783 ).

Thank you for your time. At this point, if you wish to participate, please check the “I agree” box

below and electronically sign with your initials. By doing so, you’re indicating that you are 18

years old or older, you are not currently enrolled at Endicott College, you understand this

document, and you agree with the following statement:

TODAY’S TOUCH 33

“I understand what is required of me as a participant in this investigation and consent to

participate in this study.”

1. How old are you?

- 18-23
- 24-30
- 31-37
- 38-44
- 45-51
- 52-58
- 59-65
2. Do you listen to music?
- Yes
- No
3. What is your gender?
- Female
- Male
- Prefer not to say
- Other
4. What is your favorite genre of music?
- Rap
- R&B Soul/Pop
- Pop
- Electronic Dance
- Rock
- Hip hop
- Folk
- Blues
- Jazz
- Alternative
- Country
- Punk Rock
- Disco
- Instrumental
5. What music-streaming platform do you use to listen to music? (check all that apply)
- Apple music
- Spotify
- Pandora
- Soundcloud
- Tidal
- Other
TODAY’S TOUCH 34

- I don’t use music streaming play forms

6. If I feel have an emotional connection to a song, I am more likely to share social
media?
- Strongly disagree
- Strongly Agree
7. You often share songs, albums or playlists through social media platforms.
- Strongly agree
- Agree
- Neutral
- Disagree
- Strongly disagree
8. What platform do you use when sharing music?
- Instagram
- Facebook
- Twitter
- Text message
- Snapchat
- I don’t share music
9. How likely are you to listen to music that has been shared through word of mouth?
- Very likely
- Likely
- Neutral
- Not likely
- Unlikely
10. When do you share music, how do you share it?
- Word of mouth
- Social media
- Texting
- Other
11. How likely are you to connect with the person who shared the song, album or
playlist?
- Very likely
- Likely
- Neutral
- Not likely
- Unlikely
12. How likely are you to message or contact the person who shared the song, album or
playlist?
- Very likely
- Likely
- Neutral
- Not likely
- Unlikely
TODAY’S TOUCH 35

13. Music plays a significant role within your day-to-day life.

- Strongly agree
- Agree
- Neutral
- Disagree
- Strongly disagree
14. Music forms relationships with people you would normally not connect with.
- Strongly agree
- Agree
- Neutral
- Disagree
- Strongly disagree
15. Music forms relationships with people around the world.
- Strongly agree
- Agree
- Neutral
- Disagree
- Strongly disagree
16. The number of likes and shared plays a significant role in listening to shared music.
- Strongly agree
- Agree
- Neutral
- Disagree
- Strongly disagree
17. How many hours per day do you listen to music?
- 2-4 hours per day
- 5-7 hours per day
- 8-10 hours per day
- All day