A Uses and Gratifications approach to understanding music listening formats people use most often

With the digitisation of music, consumption has shifted from traditional formats (e.g., vinyl and live performances) to internet-based formats (e.g., streaming). Krause and Brown (2021) used the Uses and Gratifications theory to examine why individuals choose specific music formats to listen to music, finding that different formats satisfy different needs (e.g., streaming satisfies convenience, and live music satisfies immersive atmospheres). However, their study excluded audio-visual platforms (e.g., TikTok, YouTube), which have become increasingly central to music discovery and consumption. Therefore, we undertook a replication-extension of Krause and Brown’s (2021) research by including audio-visual formats. Participants (N = 708) completed an online survey in which they identified their most used music format (selecting from 14 options), completed a 50-item format-specific uses and gratifications measure, and responded to an open-ended question comparing their most and least used formats. The majority of participants (n = 432) reported using paid-for streaming (e.g., Spotify) most often, demonstrating a shift away from owned, digital files. A factor analysis revealed eight Uses and Gratification dimensions: usability and intention to use, discovery and social sharing, emotional engagement and immersion, social norms, convenience and compatibility, value for money, visual aesthetics and sampling, and diversity. Additionally, while thematic analysis findings largely aligned with the factor analysis, it also revealed that paid-for streaming does not satisfy all needs. Live music, physical media, and radio are better suited to creating a tangible and immersive experience, and discovery beyond algorithmic recommendations. Interestingly, with regard to the added audiovisual formats, the video component of listening did not emerge as a stand-alone gratification, but was embedded within a broader dimension encompassing visual appeal and the ability to sample tracks. Thus, additional research is needed to continue to explore the multi-sensory nature of music consumption to better understand contemporary music engagement.

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OCURA 2025: Online Conference for Undergraduate Research in Australasia

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