#INSTRUMENTS
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METHODOLOGY

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This project is composed of several data and knowledge collection approaches:

Firstly, information from Suc Song Moi Bamboo Ensemble is collected via interpersonal communications with the band's representatives (interviews via phone and emails).

Secondly, an intensive portion of knowledge has been gained by reviewing relevant literature and theoretical frameworks both in and out side of MMCoM teaching materials to form a firm foundation for the strategic approach. This pool also includes on-the-job expertise and knowledge of the authors as a contribution to the completion of the project.

Additionally, to verify the chosen frameworks, the authors have also conducted primary research as follows:

A questionnaire was designed and distributed on the internet to collect audience responses on the topic of "Influencing factors on music product consumption of the Vietnamese" during November, 2022.

Research method: Quantitative research (questionnaire survey)
Collected samples: 254 responses, all of which are credible after scanning (verifying via emails and demographic information)
Data collection method: Online distributed and answered

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Limitations & Validation

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Given the attempts to conduct real business research, the primary research has its own limitations in terms of the samples which may not be representative of the total population. Therefore, it is crucial to envision the research result as A INDICATIVE BASE for drawing appropriate insights and making decisions.

Nevertheless, the project has also employed intensive learning materials and real-case referencing to justify the proposals and recommending frameworks. This is for the purpose of ensuring an objective and well analysed recommendation for Suc Song Moi Bamboo Ensemble, and the validated deliverables of the project.

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ANALYSIS & FINDINGS

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According to Likert's scale, research result indicates a positive attitude towards musical products, with the mean for all factors are approximately 3 ("not really an impactful factor") to 5 ("highly impactful"). Therefore, all these elements should be taken into account to formulate a music audience engagement framework for Suc Song Moi Bamboo Ensemble, as signified in Figure 1.1.

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According to gamification framework which formulates 8 player profiles, there are two axes of which each carries two parameters:

The horizontal axis (X axis) represents the object of engagement that are named "myself" and "other".
The vertical axis (Y axis) represents the extents of content engagement that are named "mastery" and "adaptation".

**Figure 1.1** - *The research results indicate affecting factors on music product consumption*

Applying to Suc Song Moi Audience profile utilising the research findings, we can seemingly adopt the gamification framework:

The horizontal axis depicts the object of engagement, with the two ends consisting of "connecting circles" and "performer" (which is the singer and band).
The vertical axis illustrates the content weight towards engagement, which consists of "performing environment" (named "performance") on the one end, and "music" on the other.

**Figure 1.2** - *Composition of impactful motivations for music audience engagement (Step 1 of the Music Engagement Essence framework)*

The combination of these axes formulates four quadrants as illustrated in Figure 1.2, and they are assigned impacting values from "low" to "high". The middle point of each half-axis is the point of "neutral", which in the context of this research project, are the remaining factors out of the four used in each end of the matrix.

All in all, connecting the dots, here is the proposed matrix for audience profile identification:

**Figure 1.3** - *The application and formulation of 5 key audience profiles*

APPROACH FOR PRODUCT DEVELOPMENT

PRODUCT DEVELOPMENT PHYLOSOPHY

**Figure 1.4** - The shift from **Artistic Initiatives** to **Audience Participative Creation** for *cultural entities*

Criteria for Product Development

The four criteria for art product development act as the guiding star for for the artists and cultural entities which is described as follows:

REACH
Is the product well populated? In other words, is the majority of audience accepting the music product and worth giving it an investment?
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RESONANCE
Is the product connecting with the audience? In other words, is it the preferred type of music to be listened to and favoured by the audience?
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RELEVANCE
Is the product a good representation and in the taste of the artist? In other words, is the artists comfortable and willing to comfort himself with that product?
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RUN-DOWN
Is the product line performing well in-line with the market? In other words, is the "brand" or "image" of that product line an innovation that the public may be willing to try?
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Psycho-Aesthetic Map

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APPLIED LITERATURE & THEORETICAL FRAMEWORKS

FORMULATING FOUNDATION KNOWLEDGE

Cultural heritage, music and arts
Marketing for arts, music and cultural knowledge
Semantics and semiotics studies
Music audience and customer enrichment and engagement
Market-driven & Product-driven music product development
Marketing frameworks, VUCA & SAVED frameworks in MMCoM program's teaching materials.

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TECHNICAL APLLIANCES

Gamification design frameworks, player profile modeling and engagement techniques (according to Yu Kai Chou's publications, and Professor Dominique Mangiatordi's in-class teaching materials).

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MARKETING COMMUNICATION APPLIANCES

Psycho-Aesthetic Map
Business Model Canvas

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BIBLIOGRAPHY

Campbell, M., Evans, C. and Wowk, L. (2022). Strategies for social engagement: Arts-service organizations as organizational intermediaries. Poetics, p.101652. doi: https://doi.org/10.1016/j.poetic.2022.101652.

Geden, S.R.M. (2022). Repeat Performance: Embodying the Artist’s Legacy in Audience Engagement with Posthumous Live Performance. New Techno Humanities. doi: https://doi.org/10.1016/j.techum.2022.04.005.

Lukasz Wroblewski, Colb, B.M. and Logos Verlag Berlin Gmbh (2017). Culture Management Strategy and marketing aspects. Berlin Logos Berlin.

Robbins, P. (2018). From Design Thinking to Art Thinking with an Open Innovation Perspective—A Case Study of How Art Thinking Rescued a Cultural Institution in Dublin. Journal of Open Innovation: Technology, Market, and Complexity, 4(4), p.57. doi: https://doi.org/10.3390/joitmc4040057.

Walmsley, B. (2016). From arts marketing to audience enrichment: How digital engagement can deepen and democratize artistic exchange with audiences. Poetics, [online] 58, pp.66–78. doi: https://doi.org/10.1016/j.poetic.2016.07.001.

#INSTRUMENTS to inspect the call