Diffusion of innovations

About: Diffusion of innovations is a research topic. Over the lifetime, 2139 publications have been published within this topic receiving 191397 citations. The topic is also known as: diffusion of innovation & diffusion of innovations theory.

How can entrepreneurial musicians use electronic social networks to diffuse their music

Abstract: Principal Topic: ''In less than ten years music labels will not exist anymore.'' Michael Smelli, former Global COO Sony/BMG MCA/QUT IMP Business Lab Digital Music Think Thanks 9 May 2009, Brisbane Big music labels such as EMI, Sony BMG and UMG have been responsible for promoting and producing a myriad of stars in the music industry over the last decades. However, the industry structure is under enormous threat with the emergence of a new innovative era of digital music. Recent years have seen a dramatic shift in industry power with the emergence of Napster and other file sharing sites, iTunes and other online stores, iPod and the MP3 revolution. Myspace.com and other social networking sites are connecting entrepreneurial artists with fans and creating online music communities independent of music labels. In 2008 the digital music business internationally grew by around 25% to 3.7 Billion US-Dollar. Digital platforms now account for around 20% of recorded music sales, up from 15 % in 2007 (IFPI Digital music report 2009). CD sales have fallen by 40% since their peak levels. Global digital music sales totalled an estimated US$ 3 Billion in 2007, an increase of 40% on 2006 figures. Digital sales account for an estimated 15% of global market, up from 11% in 2006 and zero in 2003. The music industry is more advanced in terms of digital revenues than any other creative or entertainment industry (except games). Its digital share is more than twice that of newspapers (7%), films (35) or books (2%). All these shifts present new possibilities for music entrepreneurs to act entrepreneurially and promote their music independently of the major music labels. Diffusion of innovations has a long tradition in both sociology (e.g. Rogers 1962, 2003) and marketing (Bass 1969, Mahajan et al., 1990). The context of the current project is theoretically interesting in two respects. First, the role of online social networks replaces traditional face-to-face word of mouth communications. Second, as music is a hedonistic product, this strongly influences the nature of interpersonal communications and their diffusion patterns. Both of these have received very little attention in the diffusion literature to date, and no studies have investigated the influence of both simultaneously. This research project is concerned with the role of social networks in this new music industry landscape, and how this may be leveraged by musicians willing to act entrepreneurially. Our key research question we intend to address is: How do online social network communities impact the nature, pattern and speed that music diffuses? Methodology/Key Propositions : We expect the nature/ character of diffusion of popular, generic music genres to be different from specialized, niche music. To date, only Moe & Fader (2002) and Lee et al. (2003) investigated diffusion patterns of music and these focus on forecast weekly sales of music CDs based on the advance purchase orders before the launch, rather than taking a detailed look at diffusion patterns. Consequently, our first research questions are concerned with understanding the nature of online communications within the context of diffusion of music and artists. Hence, we have the following research questions: RQ1: What is the nature of fan-to-fan ''word of mouth'' online communications for music? Do these vary by type of artist and genre of music? RQ2: What is the nature of artist-to-fan online communications for music? Do these vary by type of artist and genre of music? What types of communication are effective? Two outcomes from research social network theory are particularly relevant to understanding how music might diffuse through social networks. Weak tie theory (Granovetter, 1973), argues that casual or infrequent contacts within a social network (or weak ties) act as a link to unique information which is not normally contained within an entrepreneurs inner circle (or strong tie) social network. A related argument, structural hole theory (Burt, 1992), posits that it is the absence of direct links (or structural holes) between members of a social network which offers similar informational benefits. Although these two theories argue for the information benefits of casual linkages, and diversity within a social network, others acknowledge that a balanced network which consists of a mix of strong ties, weak ties is perhaps more important overall (Uzzi, 1996). It is anticipated that the network structure of the fan base for different types of artists and genres of music will vary considerably. This leads to our third research question: RQ3: How does the network structure of online social network communities impact the pattern and speed that music diffuses? The current paper is best described as theory elaboration. It will report the first exploratory phase designed to develop and elaborate relevant theory (the second phase will be a quantitative study of network structure and diffusion). We intend to develop specific research propositions or hypotheses from the above research questions. To do so we will conduct three focus group discussions of independent musicians and three focus group discussions of fans active in online music communication on social network sites. We will also conduct five case studies of bands that have successfully built fan bases through social networking sites (e.g. myspace.com, facebook.com). The idea is to identify which communication channels they employ and the characteristics of the fan interactions for different genres of music. We intend to conduct interviews with each of the artists and analyse their online interaction with their fans. Results and Implications : At the current stage, we have just begun to conduct focus group discussions. An analysis of the themes from these focus groups will enable us to further refine our research questions into testable hypotheses. Ultimately, our research will provide a better understanding of how social networks promote the diffusion of music, and how this varies for different genres of music. Hence, some music entrepreneurs will be able to promote their music more effectively. The results may be further generalised to other industries where online peer-to-peer communication is common, such as other forms of entertainment and consumer technologies.

Multiple Audiences for Encouraging Research Use: Uncovering a Typology of Educators:

Abstract: Purpose: We apply diffusion of innovations theory to examine two key research questions designed to inform efforts to improve the research–practice gap in education: (1) Are there distinct types of...

Why do I have to switch to DTV? An Analysis of Public Interest in the Digital Television Transition

Abstract: Dr. Oliver Boyd-Barrett, Advisor This study provides a critical investigation of the digital television transition in the United States using a Delphi panel. The panelists consisted of individuals from governmental, industrial, and societal backgrounds, representing the conceptualizations of public interest defined by Krugman and Reid (1980), Galtung (1999), and modified by Book (2004). The findings were analyzed using Rogers’ (2003) Diffusion of Innovations as the theoretical framework, particularly the perceived attributes of innovations in relation to public interest, adopter categories, and the innovation-decision process. Overall, the findings indicate that near-universal (98% of U.S. households) adoption of digital television will occur later than the previously proposed February 17, 2009 transition date and that the federal government’s decision to transition to an all-digital television system is not in the public’s interest. The research also found nine prominent issues facing viewers both during and after the digital television transition. Analyses of these, as well as the applicability of the diffusion framework for analyzing the digital television transition are presented.

Adoção de inovações em serviços turísticos: Um estudo de múltiplos casos em bares e restaurantes da orla de Aracaju (SE, Brasil)

Abstract: The present paper has as its main goal to analyze, through a multiple case study, the impact caused by the adoption of new technologies in tourism businesses, which increasingly incorporate technology to their activities. For this, we conducted semi-structured interviews with managers of four bars and restaurants of Aracaju’s seafront (Sergipe/Brazil), supported by a survey that assessed how the adoption of electronic controls by these companies affects both their customers' perceptions regarding the quality of their services, as well as their employees' perception about the technology as a working tool. In this sense, this research is based on the theory of diffusion of innovations proposed by Rogers (1995), which points out five attributes perceived in innovation that influence the individual decision to either adopt or reject an innovation. As the results and implications of the study we can highlight the attempt of bridging dichotomous concepts in innovation, emphasizing the role of technology in the service sector, and providing a reflection on the convergence between the human and technological aspects that transform concepts and ideas deeply rooted in innovation studies and tourism, and also the discussion about the extent to which there is a need for such sector to increase the presence of technology in their activities, given the different perceptions of the involved parts about the role of the technological innovation in tourism.

Diffusion of innovations in a social network under mixed Pareto–Nash strategies

Abstract: We study a simple model of diffusion of innovations in a network of agents that are characterized by their technological level. Agents can follow Nash or Pareto strategies when they decide whether to upgrade their level or not. We study the behavior of the average payoff per agent and the mean velocity of progress as function of the upgrading cost. We find that the strategy that maximizes the velocity of progress depends on the value of the upgrading cost, independently of the relative number of agents that use one or the other strategy.