Rationale
Music is observed as an absorbing and stimulating activity and hearing music serve as a key form of engagement with several cognitive and associated motor skills with certain musical instrument. Motivation in the UK music industry has been studied by several researchers over the previous years (Aguiar and Waldfogel 2014). Considering the same, the current research is focused on analyzing the theories indicating ways to motivate people in attending UK music concerts. The theories of motivation facilitate in developing constructive hypotheses regarding is effect on the music industry for attending events. Music is observed to offer numerous social and personal benefits encompassing improvements in self-regulating behavior, cognitive emotional awareness and improved social responsibility. Being a performance skill, music is multi-faced and is deemed to have effects on brain plasticity which are highly pronounced among instrumental musicians (Bacache, Bourreau and Moreau 2014). Motivation to proactive any musical instrument during childhood years is deemed to improve the musical skills and more generally the intellectual capability. Motivation to develop musical skills within UK music industry is based on developing a range of cognitive as well as perceptual action process.
Several researches has been conducted on school-aged musicians within UK indicated that a single-minded immersion is related with feeling energized and positive. This can further contribute to securing commitment of students within the music practice and certain future involvement (Bachman, Norman, Hopkins and Brookover 2016). For this reason it can be said that motivation is related with understanding emotional climate in which young individuals learn music along with the array of emotions that are experienced by them in widening music appeal in learning. Studies related with self-beliefs are also there within psychology research and research in music within western contexts indicates that learner experience needs satisfaction in case they are highly associated with music. However, it has also been observed that in western culture certain negative perception regarding music is also developed as music performance is just a choice based subject and considered irrelevant by them (Bennett 2018). Some of the major challenges for music education within western contexts concern the ways in which student beliefs in their capabilities.
The decisions regarding musical motivation in UK are generally shaped by parents’ aspirations and teachers anticipations regarding their future performance. For this reason in learning a musical instrument, time and effort is greatly needed and the beliefs underpinning such investment are important. The power of motivating engagement in music is relied on several cultural beliefs and values (Bernardo and Martins 2014). Several researches over the past years focused on role of musical instrument practice, motivation and parental support that has a tendency to indicate whether intrinsic rewards are related with positive emotions of music involvement. Music serves as a powerful force and people are motivated to experience the same. There are various levels of musical skills along with external factors that play a significant role in directing music industry engagement in UK. These factors that enhance motivation among individuals towards music in UK include playing challenging instruments and difficult repertoire (Brown and Knox 2017).
Research Questions
The research questions those are to be addressed through completion of this research are explained under:
Research Objectives and Hypotheses
The research objectives those are to be addressed in this study are elaborated below:
The research hypotheses those are to be tested in this research are indicated below:
Concept of Motivation
Colwell, Hewitt and Fonder (2017) defined motivation as desire to do something to act in a manner and therefore someone has energy and inspiration to peruse something they desire. Consequently, for people to get motivated they have a cause to conduct a certain action. These researchers also stated that motive is generally internal that encourages, integrates and directs an individual’s behavior. Deane (2018) has a distinct perception regarding motivation as they believe that there exist two distinct definitions on motivation. One among them determines certain conditions those instigate action along with anticipating its persistence, duration and finally its termination. Another definition for motivation can be explained as encouragement to take a desired action and motivation is the cause for which people choose to do a particular thing than the other.
Theories on Motivation towards Music
Evans and Bonneville-Roussy (2016) elaborated that there are several theories that can facilitate in explaining different ways in which motivation is encouraged among individuals within UK music industry. Expectancy theory serves as a model for evaluating individual motivation along with the reasons for which they are motivated to adopt a particular behavior. This theory also explains that motivation towards music is derived from desiring a social interaction and the existing literature identified three factors associated with motivation. Finney (2016) indicated that rather than having primary along with secondary motivators that includes expectancy, instrumentality and Valence. Expectancy is associated with the aspects perceived by people along with expected outcomes related with attending a music event. Instrumentality based motivation indicates the ways in which people perceive that effective performance can result in rewards. Laing (2017) also explained valence focuses on the ways in which people might believe that the rewards they desire are open to them. Moreover, it is also gathered that the foundational motivational factor affects the music industry of UK for the reason that in case someone does not perceive outcomes to be effective they are unlikely to get motivated.
MacIntyre and Potter (2014) also elaborated that behavior motivated by means of extrinsic factors like promise of reward or threat of punishment implements an external motivation. Such external motivation is deemed to be arrived from a family member. Several other motivators that persuade individuals to prospered music industry in UK and moreover, music is deemed to be an art that can motivate social movements. Mantie and Smith (2016) revealed several factors that affect motivation of music learners in the UK music industry. They also gathered that factors such as religion, income, age, popularity, flexibility and curriculum materials that is significantly related with the motivation of music learners. In attaining high involvement towards music motivation acts as a constellation of perceptions, beliefs, interest, values as well as actions those are closely associated. For this reason, several approaches to motivation towards music are centered on cognitive behaviors as well as non-cognitive factors.
Motivation Effect in Attending Music Events
Mulligan (2015) indicated that there is a limited literature on motivation of people attending events that is drastically growing. These researches also stated that an increased focus is directed towards attending musical events. These individuals are more focused on demographic of the individuals those attend music concerts in UK. This is to analyze whether they enjoyed themselves along with certain specific activities they proper to take part at the time of a musical event. Phillips and Street (2015) also conducted a research in analyzing the musical activities in which the individuals prefer taking part in an event rather than researching most straightforward motivation question. Through attaining an understanding on this, the researchers can employ its implication in organizing a musical event and marketing it. Powell, Smith and D’Amore (2017) have grouped music events and related festivals together as they believe that motivations might have similarities.
Moreover, festivals and the music events have been the focus of research attention in the motivation literature. Due to this reason motivation can be understood as a decision to visit a music festival which can trigger a desire to address a need. Price (2017) also evidenced that there might be social influences like peer pressure and learning motive that can encourage the decision making process of individuals towards attending music shows in UK. These researchers also indicated that motivation can be at its peak at the time an individual access that their actions can attain some positive results for them individually. This also associates Vroom’s expectancy theory that makes people perceive that there are certain actions that can affect the outcomes of individual actions that can motivate them. Regner (2015) explained that there are two major approaches to motivational theories that include content and process theories. Process theory impacts motivation through ensuring dynamic integrations between person and experiences in a company and management. This can be implemented in UK music industry and attending events as it considers motivation depends on interaction among people and their experiences. Rutter (2016) believed content theory focuses on analyzing what motivates people to follow music rather than knowing how that ultimately reveals drivers and triggers o human behavior towards UK music industry events.
Conceptual Framework
The conceptual framework indicated in the figure below indicated that motivational factors and related theories impact the UK music industry. This framework explains the relationship among the described motivational factors in measuring effects of UK music industry (Toraldo, Contu and Mangia 2016). Moreover, the music educators have understood the relevance of motivating students to achieve their musical desires. Motivation is deemed to be synonymous having cognitive engagement that is defined as voluntary uses of self-regulated and high level learning strategies. The conceptual framework explained the theories of motivation facilitate in developing constructive hypotheses regarding is effect on the music industry for attending events. Music is observed to offer numerous social and personal benefits encompassing improvements in self-regulating behavior, cognitive emotional awareness and improved social responsibility (Colwell, Hewitt and Fonder 2017). The figure also explains that learning environment involves teachers related with learners’ motivation of learning music. Music learning motivation among the learners is elaborated better through analyzing related factors such as demography, sociology, teaching school and learning environment. For this reason it can be said that motivation is related with understanding emotional climate in which young individuals learn music along with the array of emotions that are experienced by them in widening music appeal in learning (Colwell, Hewitt and Fonder 2017).
Figure 1: Conceptual Framework
(Source: Authors Note)
Research Approach
Research approach selection serves as the most vital process in attaining real and desired results of the research. Considering the same, it can also be stated that suitable research approach facilitates the researcher in recognizing the process for performing desired research activities (Bacache, Bourreau and Moreau 2014). The current research will employ deductive research approach with positivism research philosophy. This is for the reason that it centres on scrutinizing the existing motivation based theory and models that can result in attaining constructive outcomes for the study with the help of gathered data. This research approach is selected as the current study will analyze the opinion of the music learners by means of quantitative data analysis (Bacache, Bourreau and Moreau 2014). Moreover, this approach is deemed to be suitable for this research as positivism philosophy is employed in the study that is directly associated with quantitative data analysis in which collected data can be analyzed through analyzing the previous trends and existing models on motivation. For this reason, deductive approach is considered to be important in attaining effective results from the study.
The data collection process in researching the effect of motivation in UK music industry will consider collection of both primary and secondary data. Data collection is deemed to be the basic requirement that can ensure the success of the research through collecting required data associated with target results to be attained (Powell, Smith and D’Amore 2017). Secondary data will be gathered from books, websites and journals associated with music industry of UK and effects of motivation that can facilitate in realizing the historic presentation and speculative conditions related with the study. In addition, primary data will be collected through questionnaires. The questionnaire that will be offered to the target respondents will include both open and close ended questionnaires. Such questions will gather data related with demographic profile of respondents, motivating factors effecting their participation in music events and the motivational theories those are suitable for determining their behavior towards UK music industry. Survey is deemed to be the most suitable option to attain quantitative data for analysis foe the reason that it can facilitate in gathering relevant data from a larger population. The questionnaire will be distributed through sending personalized e-mails to target participates and they will be provided with time of seven days to revert on the questionnaire survey.
Sampling and Sample Size
Sampling can act as a technique of targeting respondents for attaining data relevant to the research from a large population (Bernardo and Martins 2014). In the current research, simple random sampling will be employed that can facilitate carrying out survey with all its target respondents for the reason that this technique can offer equal opportunities for the respondents to get chosen for the research. Moreover, this sampling method facilitates the researcher in selecting the most important primary data source for attaining vital information associated with attaining study aim and objectives (Bernardo and Martins 2014). This is the reason for which quantitative data will be gathered through employing simple random sampling for a large sample. It has also been evaluated that quantitative research analysis requires a huge sample size for attaining and evaluating respondents’ responses. Focused on the same, the current research will consider 71 students involved in music learning cause and actively take part in music shows in UK for attaining most reliable data for study on their motivation.
Data Analysis
The data will be analyzed through employing several statistical analysis techniques. In consideration to that, better selection of the analytical processes is important to attain suitable research results (Evans and Bonneville-Roussy 2016). For maintaining transparency and reliability of the data outcomes, most reliable statistical tools will be implemented in the researching effect of motivation in UK music industry. The quantitative data gathered from primary research will be analyzed through MS excel by carrying out necessary correlation and regression analysis. Moreover, the results will be represented graphically and in a table format that can simplify the interpretation of outcomes (Evans and Bonneville-Roussy 2016). MS excel statistical tool can effectively convert opinion of the target participants to anticipate the trend of gathered insights from them regarding the research subject.
Research Timeframe
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Reviewing outcomes |
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Printing and submission |
References
Aguiar, L. and Waldfogel, J., 2014. Digitization, copyright, and the welfare effects of music trade.
Bacache, M., Bourreau, M. and Moreau, F., 2014. Digitization and Entrepreneurship: Self-Releasing in the Recorded Music Industry. document de travail, Telecom ParisTech.
Bachman, J.R., Norman, W.C., Hopkins, C.D. and Brookover, R.S., 2016. Examining the role of self-concept theory on motivation, satisfaction, and intent to return of music festival volunteers. Event Management, 20(1), pp.41-52.
Bennett, T., 2018. “Essential—Passion for Music”: Affirming, Critiquing, and Practising Passionate Work in Creative Industries. In The Palgrave Handbook of Creativity at Work(pp. 431-459). Palgrave Macmillan, Cham.
Bernardo, F. and Martins, L.G., 2014. Disintermediation effects on independent approaches to music business. International Journal of Music Business Research, 3(2), pp.7-27.
Brown, S.C. and Knox, D., 2017. Why go to pop concerts? The motivations behind live music attendance. Musicae Scientiae, 21(3), pp.233-249.
Colwell, R., Hewitt, M. and Fonder, M., 2017. The teaching of instrumental music. Routledge.
Deane, K., 2018. Community music in the United Kingdom. The Oxford Handbook of Community Music, p.323.
Evans, P. and Bonneville-Roussy, A., 2016. Self-determined motivation for practice in university music students. Psychology of Music, 44(5), pp.1095-1110.
Finney, J., 2016. Music education in England, 1950–2010: The child-centred progressive tradition. Routledge.
Laing, D., 2017. The three Woodstocks and the live music scene. In Remembering Woodstock (pp. 1-17). Routledge.
MacIntyre, P.D. and Potter, G.K., 2014. Music motivation and the effect of writing music: A comparison of pianists and guitarists. Psychology of Music, 42(3), pp.403-419.
Mantie, R. and Smith, G.D. eds., 2016. The Oxford handbook of music making and leisure. Oxford University Press.
Mulligan, M., 2015. Awakening: The music industry in the digital age. MIDiA Research.
Phillips, T. and Street, J., 2015. Copyright and musicians at the digital margins. Media, Culture & Society, 37(3), pp.342-358.
Powell, B., Smith, G.D. and D’Amore, A., 2017. Challenging symbolic violence and hegemony in music education through contemporary pedagogical approaches. Education 3-13, 45(6), pp.734-743.
Price, S.M., 2017. Risk and Reward in Classical Music Concert Attendance: Investigating the Engagement of ‘Art’and ‘Entertainment’Audiences with a Regional Symphony Orchestra in the UK (Doctoral dissertation, University of Sheffield).
Regner, T., 2015. Why consumers pay voluntarily: Evidence from online music. Journal of Behavioral and Experimental Economics, 57, pp.205-214.
Rutter, P., 2016. The music industry handbook. Routledge.
Toraldo, M.L., Contu, A. and Mangia, G., 2016. The hybrid nature of volunteering: exploring its voluntary exchange nature at music festivals. Nonprofit and voluntary sector quarterly, 45(6), pp.1130-1149
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