Who Am I, or Pro-Am I?: Developing a Practice-Based … · 2018-07-04 · benefit segmentation and...

MasterDegreeProjectinMarketingandConsumption

WhoAmI,orPro-AmI?:DevelopingaPractice-BasedSegmentationModel

JoakimAndersson&MånsSvenler

Supervisor:BenjaminHartmannMasterDegreeProjectGraduateSchool

WhoAmI,orPro-AmI?:DevelopingaPracticeBasedSegmentationModelAndersson&Svenler

MasterofScienceinMarketingandConsumption,UniversityofGothenburg,SchoolofBusiness,EconomicsandLaw

1

Who Am I, or Pro-Am I?: Developing a Practice-BasedSegmentationModelJoakimAndersson&MånsSvenlerMaster of Science in Marketing and Consumption, University of Gothenburg, School of Business,EconomicsandLaw.Abstract:Segmentationhasbeenadominanttooloftraditionalmarketingtheorytounderstandconsumer behavior. However, contemporary segmentation models are highly focused on theindividualconsumerandwhotheyareintermsofdemographics,psychographicsandbehavior,insteadofwhat theydo.Accordingly, thisresearchaimstoconceptualizesegmentation fromapractice-theoretical lens by moving the focus to how and why activities are carried out byindividuals.Throughanethnographicstudy,generatingempiricalmaterialfrominterviewsandobservations,weexploreandillustratehowasegmentationmodel,i.e.thePracticePortfolio,canbe empirically developed. Having music production as the exemplifying social practice, weexamine the opportunities of segmenting markets after the embodied elements of practices;understandingsandteleoaffectivestructures.Ourfindingsdemonstratehowunderstandingsofasocialpracticerangefromalowtoahighdegree,i.e.fromanAmateur(Am)leveltoaProfessional(Pro)level.Combinedwiththeteleoaffectivestructure,varyingfrombeingself-oriented(Am)tocommerciallyoriented(Pro),fourpossiblecombinations,thussegments,emerge;thePro,theAm,thePro-Amand theAm-Pro.These four generalizations of segments and sub-practiceswithinsocialpracticesresultinthePracticePortfolio. Keywords:segmentation•practicetheory•practice-basedsegmentation•thePracticePortfolio•musicproduction IntroductionMarketsegmentationhasbeenakeyconceptwithin marketing strategy and still is astrategic tool that organizations, no mattersector or industry, apply in their decision-making (Weinstein, 2004; Wedel &Kamakura, 2012). Some of the morerenowned traditional segmentation modelsare Plummer’s (1974) concept of lifestylesegmentation, Haley’s (1968) concept ofbenefit segmentation and Kotler’s STPformula (segmentation, targeting andpositioning) (Kotler & Keller, 2012).However,more contemporary segmentationtheoristsexisttoo,asCovaandCova(2002:2)introducedtheconceptoftribalmarketinginopposition to traditional segmentation,

where focus shifts fromconsumers’ interestin the consumed objects to “the social linksandidentitiesthatcomewiththem”.Evidently,the individual remains as the main unit ofanalysis within both traditional andcontemporary segmentation. However, thispaperaimstoadvancetheconceptofmarketsegmentationbyapplyingpracticetheoryandconsequently focus on what consumers do,ratherthanare. Practice theory has developed theperspectiveofsocialphenomenabyfocusingontheactivity,ratherthanmarket forcesorindividuals(Giddens,1984).Accordingly,thepractice becomes the unit of analysis and



2

individuals become carriers of the activitiesthey reproduce (Reckwitz, 2002).Consequently,humanbehaviorisunderstoodwithin the framework of the practice(Bourdieu, 1977; 1990). Moreover, recentapproaches to practice theory have de-emphasized the individual in an attempt toobjectively understand social phenomenaandforemostconsumptivepatterns(Shoveetal., 2012). However, Schatzki (2005) upliftstheindividualwithinpracticesbyaddingtheelementofteleoaffectivestructures,i.e.goalsand emotive aspirations (Molander &Hartmann, 2018), together withunderstandings and rules to composepractices. Thus, Schatzki’s (2005)conceptualization of practice theory allowsforde-emphasizingtheindividual,whilestillaccountingforemotions,whichis importantto enable a categorization of consumers asindividualscarryingapractice. Bymoving the focus from individuals to thepracticestheycarryout,possibilitiesofcross-fertilizingsegmentationwithpracticetheoryemerge. This has previously been done byHolttinen(2010),proposingvaluecreationofpractices when targeting fragmentedcustomers, and Rihova et al. (2014),concerning co-creation in-betweencustomers. However, we argue thatsegmentation can be enabled by looking atthevariouswaysanactivityiscarriedoutandextractitintosub-practices.Schatzki’s(1996;2001;2002;2005)practicetheoryapproachhereactsasourenablinglenstounderstandconsumer behavior within social practices.Thus, focusing on how and why consumersreproduce a practice allows a holisticsegmentationpenetratingindividualsdeeperas it incorporates individuals’ emotions andmotivations, which we exemplify with thepracticeofmusicproduction.Hence, the purpose of this paper is toconceptualizesegmentationfromapractice-theoretical approach. By using practice

theory as an enabling lens, we explore andillustrate the opportunities of a practice-based segmentation model. Therefore, weaimtoempiricallydevelopamodel,whichwecallthePracticePortfolio,bydeployingsocialpractices into segments and sub-practices.This intents to provide an accessible andapplicable tool for a wide area ofstakeholders, and especially managers, toutilize. Thispaperisstructuredasfollows.First,weestablish a theoretical framework as wepresent Schatzki’s (2005) perspective ofsocial practices together with segmentationtheorytosettheframeworkforthePracticePortfolio. Thereafter, we introduce thequalitative approach and how the empiricalmaterialwasgeneratedbyconductingsemi-structured interviews and observations.Furthermore, in the analysis, the PracticePortfolio is displayed and empiricallydeveloped through the extensive datacollection of understandings andteleoaffectivestructuresofmusicproduction.Lastly, we present the segments of thePractice Portfolio highlighting the mainfindingsfollowedbyaconcludingdiscussionincluding theoretical contributions,managerial implications and directions forfutureresearch. Towards a practice-basedsegmentationmodel This paper aims to empirically build asegmentation model, i.e. the PracticePortfolio. Traditional segmentation modelshavefocusedoncharacteristicsofindividuals,such as demographic, psychographic andbehavioral characteristics (Kotler & Keller,2012; Plummer, 1974; Haley; 1968). Morecontemporary segmentation by Cova andCova (2002) emphasized tribal marketing,focusing on communities rather thanparametersasdemographics.



3

However,witha socialpracticeapproach tosegmentation,thefocusismovedfromsolelylooking at the individual to putting morefocusonthepracticeassuch,i.e.theactivitycarried out, while still accounting for theindividual.Hence,keepingthemainideawithsegmentation intact, i.e. what Smith (1956)referstoastacklingconsumerheterogeneityby grouping customers with similarcharacteristics together, allowing efficientresource allocation based on homogeneoussegments. To approach segmentation from a practice-theoretical approach requires a larger focuson the practice and the carrier of it, andtherefore in the following sections, weconceptualize practice theory into asegmentingtool. Thecontoursofpracticetheory Social phenomena have for long beenattempted tobeexplained througha lensofpracticetheory(Huietal.,2015),firstcoinedby Ortner (1984). Practice theory builds onfundamentalworksofsocialtheoristssuchasGiddens (1984: 2) claiming that structuresare “neither the experiences of the individualactor, nor the existence of any formof socialtotality, but social practices ordered acrossspace and time”.Hence, practices emerge asthe characteristics of them are not due tohuman choice, nor dependent on marketstructure(Giddens,1984).Onasimilarnote,Bourdieu(1977;1990)explainshowhumanbehavior is enactedwithina framework, i.e.habitus, forming shared norms and rules ofcarrying a practice. This habitus producesactionsjointwithmeaningsthatupholdsthepractice (Bourdieu, 1977; 1990). Hence,accordingtopracticetheory,humanbehaviorisunderstoodnotfromtheperspectiveoftheindividual nor the market per se, but theorganization of activities carried out byindividuals.

From this social theoretical approach, weunderstandpracticesas“recognizableentities,[that]aremadebyandthroughtheirroutinereproduction” (Shove & Pantzar, 2005: 44).Similarly, Reckwitz (2002: 249) definespractices as “a routinised type of behaviourwhich consists of several elements,interconnectedtooneanother:formsofbodilyactivities, forms of mental activities, ‘things’andtheiruse[…]”.Consequently,thepracticeitself becomes the unit of analysis whereindividuals merely are seen as carriers ofpractices(Reckwitz,2002). However, aspractices canbeunderstoodasunitsofanalysis,andindividualsascarriers,fragmentationexistsinhowtoconceptualizetheelementsofapractice.As“theorists[...]aredividedabout thephenomenon that the term[practice]designates”,nounifieddefinitionorapproach to what a practice is exists(Schatzki,2002:71).Practicetheoryhasbeenused differently within the domain ofconsumer research and generally twoconceptualizationshaveevolvedoverthelastdecades(Molander&Hartmann,2018),whya further clarification of, and a distinctionbetween,thetwoisneeded. Thetwostrandsofpracticetheory Ononehand,researcherssuchasMagaudda(2011), Arsel and Bean (2012) and Hui(2012) have adopted the conceptualizationdevelopedbyShoveandPantzar(2005)andShove et al. (2012) in consumer research.This conceptualization emphasizes “thenotion that practices involve the activeintegrationofmaterials,meaningsand formsofcompetence”(Shove&Pantzar,2005:45).Inthisfirststrandofpracticetheory,Shoveetal.(2012)presentthatmaterialregardstools,hardware,thebodyitself,objects,technologyand such, used in a practice. Meanwhile,competence regards understandings,background knowledge and know-howrequiredtocarryoutapractice,andmeaningregardsthesymbolicandsocialimportanceof



4

practiceparticipation(Shoveetal.,2012).Inthis view, the link betweenwhat people doandwhichemotionsandfeelingsthatevokeisvague,andratherthemainanalyticalfocusismoved to the practice itself. Thisconceptualization of practice theory has itsadvantageswhenstudyingsocialphenomenaduetoitshighdegreeofde-emphasizationofindividuals allowing a more objectiveanalysis (Shove et al., 2012). However, weaim at discovering the phenomenon ofsegmentation with the intuition thatindividuals’emotionsare important for,andpart of, practices (Molander & Hartmann,2018). Therefore, this perspective ofpracticesislesssuitedforthepurposeofthisstudy. On the other hand, a second approach topractice theory within consumer researchhasemerged,asdevelopedbySchatzki(1996;2001; 2002; 2005) and adopted byresearchers such as Welch (2017) andMolanderandHartmann(2018).Accordingly,rather than de-emphasizing the individual,this conceptualization puts more focus onindividuals’emotionsand feelings(Schatzki,2005) This is a more suitable theoreticalconceptualization in relation to thepurposeof this study where emotions and feelingsplay a crucial role and to enable acategorization of consumers as individualscarryingapractice.Insteadofconceptualizingpracticesasinvolvingtheactiveintegrationofmaterial, competence and meaning, thisapproachorganizes thepractice templateasanarrangementofunderstandings,rulesandteleoaffective structure (Schatzki, 2005).Fromhereon,weunderstandsocialpracticesfromthisperspective,aspresentedbelow. Applying Schatzki’s conceptualization ofpracticetheory Schatzki (2005) turns to theconceptof ‘siteontologies’, i.e. analyzing social phenomenathrough its context. The context being thenon-spatial siteswhere social practices and

material arrangementsmesh, i.e. a nexus ofactivities, meanings and artefacts (Schatzki,2005). Again, as Reckwitz (2002) proposes,the individual is merely a carrier of thepractice reproducing its elements.However,accordingtoSchatzki(2005),theindividualisnotfullyde-emphasizedasShoveetal.(2012)suggest. Therefore, to focus on the contextimplies that a comprehension ofunderstandings, rules and teleoaffectivestructure, including emotive aspects, asSchatzki (2005: 471) conceptualizes, isapplied:

“[A]nypractice is anorganized, open-endedspatial-temporalmanifoldofactions.Thesetof actions that composes a practice isorganized by three phenomena:understandings of how to do things, rules,andteleoaffectivestructure.ByrulesImeanexplicit formulationsthatprescribe,require,orinstructthatsuchandsuchbedone,said,or the case; a teleoaffective structure is anarrayofends,projects,uses (of things),andeven emotions that are acceptable orprescribedforparticipantsinthepractice.”

Hence, a practice is the organization ofelements that transcends any physicallocation.Apracticeisthenexusofthesethreephenomenajointwithmaterialarrangements(Schatzki, 2005). To exemplify, any socialpractice whether it is painting, playingfootball or fishing can be carried out indifferent settings. However, what isimportant is the non-spatial activity, i.e. theelements of a practice and its materialarrangements. This means that certainunderstandingscanbeneeded topaintonacanvas,suchasknowingwhatbrushorpaintto use. Rules of playing football relate toexplicitonessuchasoffsideorthesizeofthepitchaswellasmoreimplicitonesasplayingfair.Moreover,theteleoaffectivestructureoffishingcouldbepurposessuchashavingthegoalofcatchingacertainfishandtheemotiveaspiration of peace of mind when fishing.Lastly,materialarrangementsareneededto



5

carryoutapractice,whetheritisacanvas,afootball or a boat. All of these elements arearranged within social practices in milliondifferent ways depending on the specificpractice and its certain composition ofelements. To approach segmentation from a practice-theoretical approach requires a larger focusonthepracticeandthecarrierofit.Therefore,weemphasizetheembodiedelements,i.e.thementalpropertiesofapracticeconsistingofunderstandingsandateleoaffectivestructure(Hartmann, 2013). This means thatunderstandings and the teleoaffectivestructure become main leads to categorizeconsumers as individuals carrying out apractice. Material arrangements and rulesbecome more tacit within a practice-basedsegmentation approach due to their lackingpossibility of categorizing individuals.However, we stress that materialarrangements and rules are still, to a largeextent,present to fully illustrate thespecificpractice that certain segments devotethemselvesto. On to here, we conclude that in order toconceptualizesegmentationfromapractice-theoretical lens we need to focus on theembodied elements of social practices.Therefore, our focus will furthermore beemphasized on understandings andteleoaffective structures to categorize socialpractices into segments and sub-practices.Fromhereon,wewillusemusicproductionas the social practice illustrating thisconceptualization. Musicproductionasasocialpractice Weusemusicproductionastheexemplifyingsocialpracticeinthispapertoconceptualizesegmentation from a practice-theoreticalapproach.Mainly,becauseitisapracticethataccounts for different goals and emotions,andincorporatesemotiveaspirationsforthecarrier, i.e. the teleoaffectivestructure.Also,

the different levels of understandings areevident,asthepracticecanbecarriedoutinmanydifferentways,atmanydifferentlevelscompetence-wise. In addition, the materialarrangements are crucial for musicproduction, as instruments and similar kindofequipmentarerequiredforthepracticetobecarriedout.Thismakesmusicproductiona suitable social practice to explore, whichwillallowustouseourconceptualizationofSchatzki’s (2005) approach to practicetheory.Although,asmusicproductionmightbeconsideredacreativesocialpractice, thismight have implications for the PracticePortfolio to be more applicable for thatspecific kind of practices. However, we aimforoursegmentationmodeltobeapplicabletoallsocialpractices. EarlierstudiesbyRegelski(2006)emphasizethat the practice of music production is anactivity of doing music instead of being ameantosaysomethingortobeunderstood.Itisarguedthatproducingmusicisnotmerelyaboutsounds,butthemeaningrelatestohowsoundsareusedinsocialpractices(Regelski,2006), as “music’s significance/meaning isformedbythewaypeopleexperiencemusicinits socio-economic context” (Edström, 1997:62).Similarly,wearguethatfocusingonthedoing of producing music is needed whenconceptualizingwhatSchatzki(2005)definesas know-howand skills, i.e. understandings.Meanwhile, how sounds are used in socialpractices will be examined as a lens tounderstand music production as a mean toachieve, what Schatzki (2005) refers to ascertain acceptable endsor emotions, i.e. theteleoaffective structure. These two partsmake up the embodied elements that areprominenttothenatureofproducingmusic. DevelopingthePracticePortfolio To develop a model requires that wedeconstruct practice theory intosegmentation.TodothisweapplySchatzki’s(2005)elementstoconstructthepracticeof



6

musicproductionandthereaftershowhowitfitsintoasegmentationmodel.Furthermore,the two components of understandings andteleoaffective structure are applied asseparate continuums within the PracticePortfolio.Therefore,webelowconceptualizethesecontinuums toenableacategorizationtoformsegmentsandsub-practices. To comprehensively categorizeunderstandings,weseparatetheoreticalfrompractical understandings.However, Schatzki(2013)makesadistinctionbetweenpracticaland general understandings. Although, wechoose to exclude general understandings,definedasabstractsenses(Schatzki,2013),toenable a categorization of morecomplementary and concrete aspects ofunderstandings. Accordingly, we choose toadopt his definition of practicalunderstandings, which refers to “knowinghowtocarryoutdesiredactionsthroughbasicdoings and sayings” (Schatzki, 2013: 16).Moreover, to fully explain the concept ofunderstandingsinacomprehensiveway,weutilize theoretical understandings as theopposite to practical understandings(Bourdieu,1973).WithRyle’s(2000)notionof theoretical understandings in mind, weinterpret theoretical understandings asknowledgethatderivesfromtheoreticalandempirical referents and that is generatedfrom e.g. reading a book. In this sense,practical understandings regard theknowledgeofhowtopracticallycarryingouta practice and stems from performing thatspecific practice. Meanwhile, theoreticalunderstandingsregardtheknowledgeofhowtohypotheticallycarryoutapractice,arisingfromeducativemoments. Moreover, one needs to scrutinize howdifferentlevelsofunderstandingsopenupfordifferent ways to carry out a practice.Therefore, a distinction can be made byexamining if the prescribed theoretical andpractical understandings are relatively high

orlowtoreproduceapractice.Forinstance,composing classical music might require ahigher understanding than one playingaround with a guitar. Hence, this enables apossibility to categorize practices intosegments, and sub-practices, depending onthe relative understandings needed toreproduceit. Ontheotherhand,tocategorizeteleoaffectivestructures,i.e.goalsandemotiveaspirations(Hartmann & Molander, 2018), is notdependent on high or low ambitions in thesame sense as understandings. This is thepurpose to reproduce a practice (Schatzki,2005) and thereforemore concerned aboutvalues within individuals that are moredifficulttoobserve.Therefore,todisentanglecategories, we take inspiration fromHirschman’s(1983)modeloforientationsforcreativityfocusingonthreedifferentlevelsofobjectives and audiences a performer of anactivitywantstoachieve. Accordingly, goals vary from being self-oriented,withself-expressionastheprimaryobjective and producing for the self asaudience, to being commercially oriented,withmonetary income as primary objectiveand producing for the public-at-large asaudience (Hirschman, 1983). In-betweenthere is the peer-oriented, producing forpeersandindustryprofessionalstogaintheirrecognition and acclaim (Hirschman, 1983).These three orientations enable a linkbetween goals and emotions of socialpractices toa segmentationof teleoaffectivestructures.However,wechoosetoemphasizeonHirschman’s(1983)twoextremes,i.e.theself-oriented and commercially oriented, toform the continuum of a teleoaffectivestructurewithinthePracticePortfolio. Hence,wearguethattheembodiedelementsconstructingmusic productionpractices areorganizedby(1)understandingsofmelodies,



7

notes, cultural phenomena, use ofinstruments1,hardware2,software3,plug-ins4and music machines5 (see Image 1), whichcanbetheoreticalaswellaspractical;and(2)a teleoaffective structure of goals andemotions as self-fulfillment, having fun,learning, acceptance among peers,commercialsuccessandstreamingnumbers,which is characterized by the primaryobjective with music production and theaudiencethattheproducerprimarytargets. Thus, we apply Schatzki’s (2005)conceptualization of social practices andfocusontheembodiedelementsofpracticesto enable a segmentation model.Furthermore, music production illustrateshowsocialpracticesthroughgeneralizationsofunderstandings,rangingfromlowtohigh,and teleoaffective structures, varying fromself-oriented to commercially oriented, canbe categorized into segments and sub-practices.

1Instruments:includingnotonlytraditionalandclassicalonessuchasguitars,drumsandpiano,butalsoMIDIcontrollers(MusicalInstrumentDigitalInterface)suchasdrummachines,keyboardsandperformancecontrollers. 2Hardware:physicalproductsandequipmentrequiredinordertoproducemusic,e.g.laptops,speakers,headphones,monitors,microphones,andDJequipment. 3Software:digitalprogramsusedinacomputertocompose,create,mixormastermusic,oftenreferredtoasDigitalAudioWorkstation(DAW). 4Plug-ins:digitalprogramsthatareusedinsideaDAWtoprovideadditionalfunctionality,oftenreferredtoasVirtualStudioTechnology(VST). 5Musicmachine:physicalmusicproductioninstrument(seeImage1).

Methodology Ethnographicfieldwork The goal of the study is to conceptualizesegmentation from a practice-theoreticalapproach. This is made possible byconstructing a model enabling socialpractices to be categorized intoindependently distinctive, yet interrelated,segments. The model, i.e. the PracticePortfolio,wasempiricallydevelopedthroughan ethnographic study (Hammersley &Atkinson,2007)ofthesocialpracticeofmusicproduction.Wedeemedproducingmusic tobe an adequate research fieldmethodologicallyasitenabledustoapproachour purpose and as it is an activity a lot ofpeopleengageinandcanrelateto. We conducted semi-structured interviewsand made observations in the musicproductionrealm.Accordingly,itisimportanttostressthatpracticesarenotunderstoodby

Image1.Adigitalsynthesizer,onetypeofamusicmachine



8

focusing exclusively on the individual sincethat person is merely a carrier of them(Reckwitz, 2002). Nevertheless, as we takeaccountoftheemotionsofthecarrierwithinpractices(Schatzki,2005), i.e. the individualper se, a big focus is put on conductinginterviews with the carrier. Therefore,observationsbecomeoursupplementarytoolas practices cannot fully be understood bysolely lookingat the individual (Hargreaves,2011). Interviewswithmusicproducers Gettingincontactwithinterviewobjectswaspartly made possible through theinternational company Elektron, a well-known producer and retailer of electronicmusic machines, connecting us with theircustomers.Besidesthisaid,weusedourownpersonal connectionson themusicplatformSoundcloud as well as friends and we alsorandomly contacted studios in theGothenburg area to gather the empiricalmaterial. This resulted in a wide variety ofrespondents.Ononehand,professionalssuchasaSwedishGrammynominatedmusician,amusic producer with ten years’ experiencefromNewYork-basedstudiosandanownerofaninternationalrecordlabel.Intotal,theseprofessionals have accumulated above 26million streams on Spotify, varying from2,000to401,000uniquelistenerspermonth(asofMarch2018).Ontheothersideofthespectra,wehavehadintervieweesproducingmusicontheirlaptopforfun,abeatproducerfor underground hip-hop artists and peoplewiththeirownhobbystudioathome. Thisresulted inanempiricalmaterialbasedupon ten interviews, listed in Table 1, eachspanning from approximately 30 to 80minutes, averaging 43 minutes, that weretranscribed into almost 90 pages oftranscripts. The interviewees were mainlybased in Gothenburg, Sweden, but also inSpain,ItalyandNorway.Tobearespondentonly one criterion needed to be fulfilled of

having produced music, whether it meantopeningamusicproductionsoftwareonceorhaving an own studio. The data gatheringneededtobebroadtoenableacategorizationofalldifferenttypesofmusicproduction.Thismeant thatweputno focuson respondentshaving a specific age, gender, nationality orsimilarindividualistictraits.Instead,thefocalpoint was put on gaining rich insights ofdifferentwaysofcarryingoutaspecificsocialpractice,inthiscasemusicproduction. Table1.Tableofrespondents:Interviews

# Pseudonym Roleinthepracticeofmusicproduction

1 Franck Part-timemusicianandpart-timemusicteacheratuniversitylevel

2 Victor Hobbymusicianproducingmusicusingsoftware

3 Mats Studioownerandstudioconsultant,leadscourseswithinmusicproduction

4 Alexander Hobbymusicianproducinghip-hopbeatsusingsoftware

5 Francesco Internationallytouringartist

6 Miguel Recordlabelownerandprofessionalmusicproducer

7 Ludwig Part-timemusicianinabandandhobbymusicproducer

8 Emil Hobbymusicianusingmusicmachinesandsoftware

9 Ulf Studioownerandmixengineer

10 Magnus Hobbymusicianproducingmusicinahomestudio

In addition, we followed the companyElektron to attend the three-day fairSuperbooth2018inBerlin,Germany.ThefairisvieweduponasEurope’sleadingelectronicinstrumentconferencewherecompanies,DJsand music producers mesh (Smith, 2017).There, we conducted informal talks withabove twenty company representatives,



9

varying frommarketers to soundengineers,and visiting musicians, ranging frombeginners to professional ones. Theseconversations followed the same structureandtoucheduponthesamequestionsasoursemi-structured interviews but was notrecordedand lastedapproximately10 to25minutes. Observing the social practice of musicproduction Furthermore, we made observations sinceone of our focal points is to understand asocialpracticeasanactivityandindependententity of analysis (Hargreaves, 2011;Reckwitz, 2002). These observations wereforemost conducted during our interviewsand informal talks with music producers,where the practice was visually illustrated,duetoitscomplexitytoverballydemonstrateits multifaceted nature. Empirical materialwas generated by writing logbooks of ourexperiences as well as taking photographs.This enabled us to observe how differentsetups of e.g. instruments, hardware,software,plug-insandmusicmachinescouldbe used to arrange elements differentlywithinasocialpractice. Additional observations were made duringourvisittothefairSuperbooth2018.Duringthe fair, we attended workshops, where

musicproductiondevicesforbothnovice(seeImage 2) and experienced music producers(see Image 3) were exhibited, to findsubstantialdiscrepanciesofdifferentwaysofcarrying out a practice. The workshopsincludedpresentations of different softwareandmusicmachinesaswellasopportunitiesto test them yourself. In addition, wemadeobservations of live music productionsessions in booths, as well as on stage, tounderstandhowelementscanbearrangedindifferent manners within specific sub-practices. Analyzingtheempiricalmaterial ToempiricallybuildthePracticePortfolio,weneeded to structure the empirical materialwithin an interpretive framework, i.e. ourtheoretical perspective guiding ourinterpretation(Moisander&Valtonen,2006).Hence, to extract the segments, twocomponents of our interpretive frameworkwere used. The first one is referred to asunderstandings and relates to the termsknow-how,skillsandcompetencesneededtocarryoutapractice(Schatzki,2005;Shoveetal., 2012; Arsel & Bean, 2012; Magaudda,2011). Meanwhile, the second componentrefers to the teleoaffective structure(Schatzki, 1996; 2001; 2002; 2005;Hartmann,2016)andrelatestothetermsofgoals and emotive aspirations (Molander &

Image2.SimpleMIDIkeyboardconnectedtoiPadexhibitedintheworkshopfornovicemusicproducers.

Image3.Advancedsynthesizerexhibitedintheworkshopforexperiencedmusicproducers.



10

Hartmann, 2018). All interviews conductedfollowedthisthematicstructurebyhavingafewsetquestions, i.e.aninterviewguide,oneach component and then talking moreinformally around them. Questions tounderstandings related to the respondents’musical background and process whenproducing music, whereas the questions ofthe teleoaffective structure touched uponobjectivesandpurposesneededtoreproducethe practice. Thus, our interpretiveframework allowed us to assess insights tocategorize and construct the empiricalmaterialintothePracticePortfolio. Transcripts from interviews together withlogbooksandphotographsfromobservationswere coded based on our interpretiveframework, with an analysis structureinspired by Holt (1998). However, whenassessing a practice’s understandings,theoretical as well as practical, andteleoaffective structure, including primaryaudienceandobjectives,thiswasdonebasedon our interpretation of that specific sub-practice, in relation to other similar sub-practices. Consequently, we used the codedempiricalmaterialtoexploresimilaritiesanddifferences (Alasuutari, 1995) to form thesegments. Thereafter, we plotted eachintervieweeinthePracticePortfoliotomakesure all areas were covered and that thedifferentcategoriesweresaturatedenoughtoillustratethemassolesub-practices.AsHolt(1998) separates individuals, making them

belongtoeitheragroupcharacterizedbyhighor low cultural capital, we separate sub-practices, making them distinctivelyindependent, yet interrelated, segments byholdingacombinationofunderstandingsandteleoaffective structure other segmentscannotpossess. To summarize, we conceptualizesegmentation from a practice-theoreticalapproach throughanethnographic studybyhavingconductedsemi-structuredinterviewsand observations to generate our empiricalmaterial. Our interpretive framework ofunderstandingsandteleoaffectivestructuresis the foundation to assess the empiricalmaterial into the Practice Portfolio. Thecomponents of the Practice Portfoliowill inthe analysis be structured through thickdescriptionsandinteltoportrayourfindings. EmpiricallybuildingthePracticePortfolio We develop the Practice Portfolio based onourtheoreticalfoundationandtheempiricalmaterial we have generated. Building onSchatzki(2005),socialpracticescanbesplitinto two categories of embodied elements;understandingsandteleoaffectivestructures.These are applied in our practice-basedsegmentation approach and constitute thetwo continuumsof thePracticePortfolio, asillustratedinFigure1.

Figure1.Thecomponentsofapractice-basedsegmentationapproach



11

Accordingly, there are two types ofunderstandings; theoretical understandingsand practical understandings. These areassessedintoatotalvalueonthecontinuumof understandings within the PracticePortfolio, ranging from low to high. In thissense, a practice can be characterized byhaving either Low Understandings (LU) orHighUnderstandings(HU). Regarding teleoaffective structures, thepracticeiscarriedoutfordifferentobjectivesand audiences. Thus, to categorize theteleoaffective structure implies finding themost prominent objective and audience.ThesearecombinedtoassesshowmuchofaSelf-oriented (SO) or Commercially Oriented(CO) teleoaffective structure a practice ischaracterizedbyonthecontinuumwithinthePracticePortfolio.

WedevelopthePracticePortfolio(seeFigure2) by enabling social practices to becategorized into independently distinctive,yet interrelated, segments. Moreover, welabel these segments after inspiration fromLeadbeaterandMiller’s(2004:20)termPro-Am referring to a person who “pursues anactivityasanamateur,mainlyfortheloveofit,butsetsaprofessionalstandard”.Accordingly,a practice can either have a high or lowdegreeofunderstandings, i.e. aProfessional(Pro)levelofunderstandingsoranAmateur(Am) level of understandings. Regardingteleoaffective structures, these could beeithercommerciallyorientedorself-oriented,i.e. willingness to be or become a Pro orwillingness to be or become an Am. Thisenables four different combinations ofunderstandings/teleoaffective structure;Pro/Pro,Am/Am,Pro/AmandAm/Pro.Thetwo first are, for usability and readability

Figure2.ThePracticePortfolio



12

reasons, simplified into the terms Pro andAm, making four final segments thefoundationofthePracticePortfolio;thePro,the Am, the Pro-Am and the Am-Pro. Theseextremes are composed of the outlyingpositions on each continuum, meaning thatthese four concepts become generalizationsof sub-practices in an infinite possibleamount of combinationswithin thePracticePortfolio. Above, we present the approach of ouranalysisaswellastheresultofourfindings,i.e. the Practice Portfolio. In the followingsections,wepresenttheunderlyingempiricalmaterialfromwhichthemodelisdeveloped,meaning thatbothcontinuumsof themodelwillbeexplainedandexemplifiedthroughthesocialpracticeofproducingmusic.Hence,westart with understandings, followed byteleoaffective structures and lastly, weexhibitthesegmentsofthePracticePortfolio. Low understandings versus highunderstandings The first categorizationofpractices ismadepossible by focusing on the prescribedunderstandings needed to reproduce acertainpractice,i.e.theknow-howandskills(Schatzki, 2005). The understandings ofthings in a practice relate to usingmaterialarrangements, i.e. different objects, byapplyingone’scompetencetoachievecertainends (Schatzki, 2005). For social practices,this means that conducting certain sub-practices requires a specific level ofunderstandings. Therefore, we categorizeunderstandings into being low or high anddescribe it by applying two separatecomponentsofunderstandingstoreproducea practice, i.e. theoretical and practicalunderstandings. Starting with theoretical understandings,these relate to having a formal theoreticaleducation to reproduce a practice. Within

music production, theoreticalunderstandings relate to understandingmusic theory, which could imply havingdegreesfromauniversityorattendingmusicschools,meaning that one can, for example,understand notes, composition or scales.Even though music production today isheavily influenced by technology, musictheory is still a foundation underbuildingsoftwareandmusicmachines. The second component, being the practicalunderstandings,doesnotrelatetoanyformaltheoreticaleducationorknowledgeofhowtotheoretically carry out the practice. Instead,practical know-how foremost relates toexperience and muscle memory as well astalent and creativity. For music production,this refers to howone can use instruments,both traditional and more contemporarydigitalinstruments,tomasterrhythm.Theseare natural instincts that provide theparticipant of the practice with more tacitfeaturessuchashavingearsforwhatsoundsgoodandasenseofbeingmusical. LowUnderstandings(LU) StartingwithLUs,theseareorganizedarounda low degree of theoretical understandingsandformaleducation.Instead,theLUsoftende-emphasizestheneedofahightheoreticalunderstanding as the quotations belowdemonstrate:

Interviewer: How do you perceive yourskills and know-how within musicproductioninrelationtotheindustry? Francesco (LU): [...] Inever studiedmusicproduction. There are people that go tosuper expensive and famous productionschools and they know really everythingabout all the synthesizers and all theprocessing, plug-ins, compression, reverb,all thatstuff.Butyeah, I feel likethereisalotthatIcanstillimproveandlearn.[...]I’mself-learned, like a lot of other producersare.TherearesomuchstuffandresourcesyoucanfindontheInternet,evenfor free.



13

So, it’snot reallynecessary togo tomusicschoolorproductionschool.Butdefinitely,if you go to one, that gives you a bigadvantage on the other people that don’t.Even though I still think that there arepeople that go to these super expensiveproduction schools, but they still lack thecreativityortheambitionor,Idon’tknow,it’s more…. I think creativity and talent isstill number one for me – as the mostimportantthing,butofcourse,thetechnicalsideissuperimportantaswell.

Interviewer: What’s your musicalbackground? Alexander (LU): I tried to play someinstrumentasachild.Nothingthatintriguedme, played the saxophone a few years…thenIquit.SincethenIhaveonlyproducedmusic onmy computer, that intriguedmemore. It was more fun to produce musicratherthanplayingmusicthathadalreadybeencreated. Interviewer:Howdoyoucollectknow-howforyoursoftware[toproducemusic]? Alexander (LU): Iwatcha lot ofYouTube,that’s reallygood I think.Don’tattendanycourses.Verymuchself-learnedalso.

Theseexpressionsillustratehowparticipantsofasocialpracticedonotnecessarilyhavetobeconcernedwiththeoreticalknowledge,butrather the carrier can learn and developunderstandings in less theoretical ways. Asproducingmusichighlights,althoughhavingalowtheoreticalunderstanding,theLUdoesnotnecessarilyseeitasaproblem.Insteadofadjustingthemselvestothetraditionalwaysof producing after music theory, they formtheir ownways, implying that not knowinghowtoplayanyinstrumentisnotconsideredaslimitingtheirabilitytoproducemusic.Asaconsequence, several LUs claim to be self-learned,mastering their trade by emulatingorbecominginspiredbyothers.

6FLStudio:aDigitalAudioWorkstation(DAW),i.e.musicproductionsoftware,thatissuitablefornewmusicproducerstolearn. 7Trapbeat:popularhip-hopgenredevelopedinSouthernUnitedStates.

Concerningthepracticalunderstandings,theLU is characterized by not fullyunderstanding the practicalway of carryingoutthespecificsub-practice. Instead,theLUismostoftenconsideredtobeanovice,whichimpliesthattheamountofpossibleoutcomesanLUcanachieveissignificantlylower:

Interviewer:Whatprogramsdoyouuseinyourcomputer? Alexander(LU):FLStudio6istheonlythingI use. Then there are plug-ins in thatprogram… Interviewer:Whatplug-insdoyouuse? Alexander(LU):Synths,thingsIputinthemix, likeEQsandthosebasicstuffthatareincluded when you get the [software]program.[...]Ihavedrum-kitsasit’scalled,which isdrumsandsnaresandthosestuffthat Iuse, sounds straightoff that Iuse inthesongs.IdomelodiesbyusingtheMIDIkeyboard (see Image 4) I have and then Imakeacoolmelodyofitwithasynthesizer. Interviewer:Howlongtimedoesittaketoproduceabeat? Alexander (LU):When I start with a beatthenIcanmakeoneintenminutes,it’slateronwhenIputthingsoutandchangecertainitems in the beat that takes longer time.Melodyanddrums,thatiswhatisneededinatrapbeat7,itreallydoesn’ttakealongtimeandIknowpeoplewhomakeabeatinfiveminutes, that’s really crazy so I think thatalsomademecontinuewithitsinceitcanbemade that fast. That you don’t need to sitand work with one song forever, but thatyou finish with it and it sounds decentquickly.

Moreover, one of the LUs explained theprocess of developing practicalunderstandings as similar to the process ofbecominggoodataspecificcomputergame:



14

Interviewer:What does the process looklikewhenyouproducemusic?Magnus (LU): The thing is that the moreyouwork,themoreroutineyougetandthemore creative you get as well. Becausecreativity is everything and that you areresilient, because in the beginning it’s hellsinceyoujusthavetodotheworkandlearn.Youdon’t understandhow tomake thingshappen.Thenitbecomesthatyoutrytofindaway toget through.Forme, Iworka lotwithmelodies,becausethat’smystrength.Iamgoodatcomposingmelodies.Whenyoufindanicemelody,that’swhereitallstarts,then you have free hands to do what youwant. So that’swhere I start. [...] LearningthesoftwareislikelearningplayingTibia[acomputer game]. It is a software that youhavetolearndifferentpartsin.Youshouldlearnhowtobecomefastinit.

As illustrated above, the LU is characterizedbyhavingalowdegreeofpracticalexperiencewhich limits the possibilities of carrying outthe practice in various ways. Thisdemonstrates how a lack of either routine,musclememory,talentorcreativitydecreasestheframeofenactmentfortheLUwithinthesocial practice. As our case of musicproduction exemplifies, being dependent toonlyoneinterface,i.e.onemusicmachine,one

productionsoftwareoroneinstrument,limitsthevarietiesofways toproducemusic.Thisbecause practical understandings often areinterface-specific, which makes it harder totranslate that specific knowledge practicallyto another different interface. Gainingpractical understandings often impliesplaying around with interfaces with lowerentry barriers, such as music productionsoftware. HighUnderstandings(HU) On the other hand, HUs are oftencharacterized by high theoreticalunderstandings, which is a result of formaltheoretical education within the socialpractice. In this sense, a larger focus is putupon the traditional format of how thepracticeisreproduced.Thetraditionalformatimplies that there are certain rights andwrongs, in terms of how to carry out thepractice. However, it is important to stressthat an HU does not reject other ways ofreproducing the practice, but as exhibitedbelow,oneneedstoknowtherulesinordertobreakthem:

Interviewer:Whatdoyoustrivefor[whenproducingmusic]?

Image4.AMIDIKeyboardconnectedtoalaptop.



15

Ulf(HU):Well,yes,thesymmetry.[...]Ifitisanexceptionyoucanhearamixwhereit,fortwo seconds, sounds that they have donesomethingwrong. Then suddenly I realizethatitisgenius!Becausetheyhavebrokenthe rules on purpose. That’s not someonewho justdoesn’tunderstandtherules,butsomeonewhohasactuallyunderstood. It’sthesamewithgrammarandeverything,youhavetolearntherulesbeforeyoucanbreakthem. [...] If you listen togoodmixes, thenthesymmetryisthere.

Similarly,another intervieweediscussed thetermharmonyintheabsenceandpresenceoftheoreticalunderstandings,asstatedbelow:

Interviewer:Howdoyoucompareyourselftonovicesinstudios? Mats (HU): Some people with non-priorknowledge, they might think it’s easier tomakemusic than itactually is.Theymighthave seen a video where someone doessomething andmakes it look simple. Thatyouonlyneedyourcomputerandthatyoudon’tneedtoplayanyinstrument,thereissometruthtothat,but…Whentheyhearasong,maybeaTaylorSwift [Americanpopmusician]song, theymight think that theyhaveseenitonlinethatyouonlysitwithacomputer and click. That is bullshit, that’snothowitis.Itrequiresknowledgetoknowhow music is composed. If you play theguitarorwhateveryouplaythenyouknowtherearechordsandthatyoucan’ttakeanychord to any melody. You need certainchordstobuildaroundandthatpartcanbetricky for people who only rely on theirhearing. They can start playing somethingandthengetstuck,thentheymightnothearwhatitisthatiswrong,withtheharmony.

A further statement of an HU explores thekindoftheoreticalbackgroundapracticecanconstituteof:

Interviewer: What’s your musicalbackground? Franck (HU): I havealwayswrittenmusicandplayedthepiano.WhenIwasachildI

usedquitealotofsynths.WhenIwas17-ishI started to practice the piano more andmoresinceIwantedtostudy,becausethatcould be fun. So after upper secondaryschool, I attended folk high school [adulteducationinstitute],playedjazzandstuff.Idid that for quite a long time, four years.ThenIworkedafewyearsandafterthatIattendedcollegeofmusic,[for]compositionandpiano.ThenIhavereleasedfivealbumswith my band, done a lot of differentcommissions. My band does around tenconcerts a year, have been Grammynominatedsometime.Touredabitabroad,USA this summer andMexico a few yearsago,butithasnotreallytakenoff.

As demonstrated by these excerpts, thekeywords of symmetry and harmonyunderline how HUs acknowledge theimportance of high theoreticalunderstandings to achieve a superior levelthat is not possible to achievewithout it. Asuperior level that is reached throughextensivetheoreticaleducation.Additionally,thisenablestheHUtobroadenthedifferentwaysofcarryingoutthepractice.Inrelationtomusicproduction this relates toknowingmusictheoryandanabsenceofit,i.e.torelyon natural instincts, limits the possibility todevelopthesocialpracticeandtheoutcomesof it. Thismeans that understanding chordsand scales, and building melodies is anecessity and a knowledge most oftenachieved through some kind of formaltheoretical education. Also, this becomes aprerequisite for the HU’s ability to producemusicinmoreversatileways,asforexamplebybeingabletoplayseveraldifferentkindsofinstruments.Furthermore,thisisalsoevidentin their musical background as mostinterviewed HUs have an extensivebackground, often by being musicians orworkinginstudiosasafull-timejob. On the contrary, considering the practicalunderstandings, the HU often has acombination of experience, muscle memory,



16

talent and creativity that allows them to bemelodic, symphonic and rhythmic. In thissense,learningbydoingbecomestheHU’skeyfactortodevelopunderstandings:

Interviewer: How does the competenceleveldifferamong theparticipantsofyour[musicproduction]courses? Mats (HU): [...] Since I also have privatelessons, consultancy in the studio, some Ihaveadialoguewithwhofirstaskmehowlong it will take to learn Logic [DAWsoftwareformusicproduction],howmanylessons itwould take, if two is enough? Intwo days you can get far, really, I candefinitely teach the most important partsthen.However, ittakeslongertoachieveaworkflowsothatit feelsyougetgoing.It’slike driving a car, I can tell you the basicprinciple in an hour, but the first timebehind thewheels is not easy. Then, afterseveral years of driving… it becomes self-evident after awhile. Anyone can tell youtheprinciplesofplayingtheguitaraswell,thisisnoexceptionforasoftwarelikethat.Some people have a talent for it, buteveryonecanlearnit.

Thisquoteexemplifieshow theprocessandworkflowofreproducingasocialpracticearedependent on gaining experience andlearning. Theoretical knowledge can onlyhelpasmuchsincepracticalunderstandingsaremainly achieved by actually performingthe social practice. Moreover, gainingpractical knowledge and skills can be anenduring process where having anexperiencecanhelpthelearningprocess:

Interviewer:Isthatimportantforyou,thatyoukeepondevelopingyourself? Franck(HU): [...] Ifyou forexamplebuyasequencer from onemanufacturer, then itwilltakeyouoneyear,maybeoneandahalf,before you feel comfortable with it,dependingonhowmuchtimeyouhave,ofcourse.Thenyoubuyanewinterfacefromanother manufacturer, then theinfrastructure of the instrument could be

totallydifferentwhichmakesyoure-learn,youknowwhatyouwanttodo,butyouhaveto make totally new combinations,keystrokes, than before. Some things, thatyoutakeforgranted,arenotpossibletodobecauseyouhadanotherinterfacebefore.Ifyoubuy a synth on the other hand,whichhaslookedthesamesinceitsentrancein‘64-’65,thenit’sapieceofcake.Thena[musicmachine]manufacturerreleasesanewitemandIthinkthatIwillbeabletolearnit.Thenyou have worked on it for three days,invested14000[SEK]inanewinstrumentandrealizethatyoucannotachieveacertainoutcome, for example, but that is anotherquestion,butwhenitcomestolearningnewstuff,formeithasbeenlikelearningtoplayanewinstrumentandIfeelthatIhavealottodobefore…NowIcanhandlemostthingswhenitcomestothehearing.Iworkedsixhoursofpianoperday,forIdon’tknowhowmanyyearsIhavedonethat,sinceIwas20to30maybe.BeforethatIhavepracticedalot,maybesixhours…andnowIpracticeinthiswayandthinkthatIamquitebad…orthat I have a lot left to dowith the piano,thenofcourseIhavealotleftwiththistoo.

As this excerpt illustrates, interface orprocess-specificunderstandingscanbehardtotranslateintoothersettingsofcarryingoutasocialpractice.Asmusicproductionshows,different interfaces, instruments andmachines have different entry barriers tolearnwhich implies that experience,musclememory, talent and creativity can helpovercome these barriers. This to achieve aworkflowofproducingmusicthatallowsthenaturalinstinctstoperformatahigherlevel. Assessingthecontinuumofunderstandings Thetheoreticalandpracticalunderstandingsare accumulated to assess the total valueofunderstandings needed to reproduce apractice within the Practice Portfolio.Evidently, theoretical and practicalunderstandings affect each other. A hightheoretical understanding can provide toolsof how to practically carry out a social



17

practice. Simultaneously, a low degree oftheoretical understandings can limit thepractical understandings. This works viceversaforhowpracticalunderstandingsaffectthe theoretical ones too. However, whencombining a practice’s theoretical andpracticalunderstandings,thepossibilityforitto end up having a total assessedunderstanding that is medium exist, i.e.somewhere between high and low, whatHirschman(1983)referstoaspeer-oriented.In this sense, high theoretical, as well aspractical,understandingsarerequiredtoendupatthehighendofunderstandings,andviceversa. As music production exemplifies, knowingmusictheorycanbeanaidwhennothearingwhat is wrong in the process of practicallycreating and can avoid getting stuck whileproducing. Meanwhile, not knowing musictheory can be compensated by practicalunderstandings,i.e.learningbydoing,whichgives an understanding of the underlyingtheoretical structures through practicallyperformingthepracticeofmusicproduction.Therefore, having experience, musclememory, talent and creativity can help tounderstandwhat is happening theoretically.In this sense, music production can, forexample,becharacterizedbyahighdegreeoftheoreticalunderstandings,butalowdegreeofpracticalunderstandings,makingitendupin-betweenhighandlowonthecontinuum. Self-oriented versus commerciallyoriented The other categorization we use is theteleoaffectivestructureincluding“anarrayofends, projects, uses (of things), and evenemotionsthatareacceptableorprescribedforparticipants in thepractice” (Schatzki,2005:471), which contributes with a purpose forthe carrier to reproduce the practice as itprovides goals and emotive aspirations(Molander&Hartmann,2018).Thepurpose

is why a practice is reproduced and variesfrom being self-oriented to commerciallyoriented. Moreover, the teleoaffectivestructureofthepracticesisacombinationoftwo components; the primary objectivessought and the primary target audience, asdiscussedbyHirschman(1983). Regardingtheprimaryobjective,apracticeiscarriedoutwithacertainmotivationalmaindriver,i.e.areasonwhythepracticeiscarriedout. For music production, this means thatmusic is produced either with objectivescharacterizedbyself-expressionandintrinsicmotivation such as having fun or to becreative. Furthermore, the process can alsobecomeanendinitselfandprovideintrinsicstimulation, what Deci (1975) refers to asautotelic objectives. Meanwhile, acommercial motivation permeates thepractice of music production where theobjective ismore concerned about extrinsicvaluesasearningmoneyandawillingnesstoproducemusicforaliving. On the other hand, the primary audiencetargetedwhencarryingoutapracticeisaboutwhothetargetaudienceis.Either,thetargetaudienceistheselfortheaudiencetargetedis the public at large. Within musicproduction,musicisononehandproducedtogenerate a product that is consumedby theself, while for others the end-product issought tobeconsumedbythemanypeople,and fame and status are highly valued. Themusicisnotnecessarilyexportedorreleasedforotherstoconsume,rathertheprocessandproductionsessioniswhatisimportantwhenself-oriented.For thecommerciallyorientedmusicproducer,themainaudienceisratherthe public at large and to share songs andtracksisofimportance. Self-Oriented(SO) Startingwith the SO, theprimaryobjectivesare characterized by purposes and ends of



18

intrinsic values and intrinsic stimulation. Inthis sense, the objective of reproducing thesocialpractice isoften related tohaving theactivityasahobbyonleisuretimetoachievesatisfactionandstimulationfortheself.Thisis exemplified below through the SO’seagerness toexpresscreativity,haveagoodtimeandtofeelgood:

Interviewer: You produce music on yourleisuretime? Emil (SO):Yes, I’ve done itmaybe…Whatcanitbe,theyearsaregoing,but7-10yearsmaybe. Interviewer:What kind of music are youproducing? Emil (SO): Nowadays it’s more house,techno, a little bitminimalistic or so… It’snot that I want to do something super-commercial [...] If youweregoing tomakean effort into solely making commercialhousemusic, itmight probably have beeneasytorelease[onSpotifyvia labels]suchsongs,butIwouldprobablynothavebeensatisfiedwithit,as it isnotwhatIwanttodo.It’snotforthemoneyI’mdoingit,butit’sbecause you get stimulated by it. It’s, like,creative.Anice feeling. [...] It’s a lot aboutthatI’msittingdowntorelax.Maybeit’snotthat I’m thinking that I’m going tomake asong,it’smorelike,Isitdownandjustrelax. Interviewer:Isitanimportantdrivingforcethat you develop yourself in your musiccreation? Emil (SO): Yeah, it is. I feel like I’mdevelopingmyskillsallthetime,youwantto getbetter all the time, I think that it is,like, interesting to do that. But then it’s adifference, I don’t know, but, I would notliketodothisasafull-timejob,asamusicproducer, I don’t think that I would havelikedthat.Iguessyoudon’treallyknow,asitisadifferencewhenit’sahobby.WouldIthinkitisfuntodothisallday?It’shard,Idon’tthinkso.

Interviewer:Whatareyourambitionswithyourownmusicproduction? Ludwig(SO):Short-term,I’mgoingtokeepitfloatinginlifejustbecauseit’sfun.Itgives

apurposetolife,Ithink,tobecreative.It’snot so square, rather you can experimentandcreatesomethingmysticandauthentic.

These statements illustrate that a SO is notinterested in the activity as a profession tomake a livelihood out of it as the socialpractice is perceived as a hobby, and theobjective is to keep it as such. Instead,intrinsicvaluesare rewarded, suchasbeingcreative and experiment or achieving aspecific emotion of amusement. For musicproduction,theactivitycanbecomeameantofeelstimulated,i.e.toreachcertainemotions,by playing around with tunes. Also, theautotelicobjectivesareexemplifiedaboveasthe process of producing music itself canprovide intrinsic stimulation throughrelaxation. Furthermore,theSO’saudienceistheselfandthereforeitisnotimportantnornecessarytoshare the end-product with others.Accordingly, as exhibited below, intrinsicvaluesaremoreimportanttoachievethantoreachoutwiththemusic:

Interviewer:Do you share themusic thatyouareproducing? Victor(SO):I’mnotuploadingorpublishingmymusicanywhere.Ifeellike,whyshouldI?Maybesomefriendswilllistentoit.Idon’tknow,havenotthoughtaboutitthatmuch.I’m doing [music production] because itfeelsgood.[...]I’musuallynotfinishingmyprojects, I’m not exporting any finishedtracks,asIfeellikeIdon’thavetopublishitanywhere.IproducefromhowIfeel,whatfeels good to me. I want to create a nicefeeling.

Interviewer:Thepeoplethatcometoyourstudiotomakemusic,doallseekfame? Mats (SO): Some people really have it astheirhobby,whentheysitdownandbeforthemselves, they sitdownandmake somemusic. Some people really make musicbecause it is relaxing for them. I haveone



19

woman that has been to my studio, shemakesmusicsolelybecauseitisfun,forherownsake.Shedoesn’tmakeittogettonsofstreams on Spotify, she makes it becauseshethinksitisfunandwantstospendhermoneyonit.

These excerpts show that the purpose, inrelationtocarryingouttheactivityfortheselfasaudience,istoalargerdegreeconnectedtoemotions. These emotive aspirations areexemplified within producing music asfeelinggood,having funandstimulationaremeanstoachievetheendofservingtheself.However, as a primary audience can bedistinguished, conflicting orientations canexistsimultaneously,asdemonstratedbelow:

Interviewer:Yousaidmusicproductionisacreative instrument. For you, is it aboutreachingoutwithyourmusic? Ludwig(SO):I’mplayingalotofpiano,andI’mdoingalotofsideprojectsjustbecauseitisfun.That’sonalevelwhereIjustwantto have fun, play formyself and stimulatemyself.ButIthink,ifsomethingishonestlycreative,youmightreachoutwithittoo.Butmainly, my primary objective is that itshouldbeformyself,forstimulation.

This quotation provides a primary self-orientedaudience,butalsoillustrateshowa commercially oriented motivation toreachabroaderaudiencecanco-exist.Asproducing music illustrates, the primaryaudience targeted can change, even if theprimary objective remains the same,depending on the appreciation of theoutcome. CommerciallyOriented(CO) On the other hand, the CO has a primaryobjective characterized by extrinsic valuesandextrinsicstimulation.Themainobjectivefor these practitioners is to carry out thepracticetogenerateanincomeandtomakealivingoutofit.Asexemplifiedbelow,theCOcanperceiveitspracticeasahobby,butwhat

actuallydefinestheactivityisthemaindriverandendofreproducingthepractice:

Interviewer:Youareproducingmusic,butyouareplanningtostudythisfallaswell? Magnus(CO):Yes.Now,myprimaryfocusis on music production. It’s actually theprimaryfocus-togetsomewherewiththemusic. I thinkit’spossibletodothatwhilestudyingattheuniversity. Interviewer: Do you still consider musicproductionahobby? Magnus(CO):Yes,Imaystilllabelitasmyhobby,consideringthat Ihavemadea fewhundredth[SEK]onthesingleI’vereleased[on Spotify], and when we play out onnightclubs we have made a few thousand[SEK]eachaswell.SoIwouldstillcall itahobby. I have graduated from uppersecondaryschoolnow,Iwork7amto4pmand I have been playing ice-hockey atVärnamo [semi-professional level] thisyear.So,Istillseeitasahobby,butIwantto, as I begin to studyat theuniversity, toputfocusonthestudiesandthemusic.Istillwant to release songs while studying. Wehavebeguntothinkthatwewanttomakemoneyfromitandbringittoanotherlevel.

Interviewer: Would you like to keepproducingmusic? Alexander (CO): Yeah, absolutely. It’ssomethingthat Iwanttodofortherestofmylife.Thegoal,thelong-termgoal,istodothisforaliving.

As illustrated by these excerpts, the CO’sprimaryobjectiveistoreproducethepracticetobeorbecomealivelihoodandprofession.These objectives are not dependent on thecurrent state of the sub-practice, but ratheron the goals, ends and objectives that thecarrier aims for, i.e. the teleoaffectivestructure. Hence, a professional carrier, aswellasanamateurhobbycarrier,caninthissenseendupatbothextremes,dependingonthe characteristics of their individualobjectivessought.



20

Regarding the audience, the CO wants toreach out with what is produced from thepractice, in order for others to take part ofwhat theyhavegenerated.Asdemonstratedbelow, the focus is sharing theend-product,andwhentheydescribethepractice,acclaimand the importance of being renowned as asuccessful practice carrier is oftenhighlighted:

Interviewer:What’sthenextstepwithyourmusicproduction? Magnus (CO): We are releasing our firstsonginacoupleofweeks,anditshouldbecomparedwithaprofessionalrelease.Nowwearetryingtogetoutofthosesmallshoes.[...] The best thing is that now theprogressive house is getting trendy again,and I feel like, if we are able to time thatcurve,weareabletomakesomethingthatcanbecometrendy, something thatpeoplelike. [...] In the long-term,we are going toworkourassesoff.Inafewyearstocome,wewillbediscoveredbysomethingbigger,a big label or so. Because, it is a lot aboutnetworking and it is important whenbuildingacareer.BecomingfamousDJsandmusic producers, that’s what’s the goal ofeverything.

Interviewer:Wheredoyouseeyourselfandyourcareerasanartistinthefuture? Francesco (CO): Now I have like a long-term plan. For this year, we are going torelease a new original [track on Spotify]everymonth.[...]Alsothemaingoalforthisyear is going to one million listenersmonthlyonSpotify, that’s themaingoalofthis year. And then in next year, we aregoing to launchmy ownmusic label. [...] Idescribemyselfasapopartistnow,asapopproducer.Beingestablishedandrenownedasapop-artistiswayharderthanmakingitin the tech house scene or whatever,because you are really competing againstthe biggest stars, like The Chainsmokers[commerciallysuccessfulAmericanDJduo]andthosekindofguys.Sobeforebeingableto do proper tours and playing proper

festivals,it’sgoingtotakealotoftime,alotofeffort,butthat’sdefinitelythegoal.

Interviewer:Isitimportantthatyoureachoutwiththemusicthatyouproduce? Miguel(CO):Yeah, it’sthemost importantthing. If you are making music and thepeople don’t know you are, you are notmaking music. That’s the thing. I mean, ifyoumakemusic, you have to be sure thatpeoplearegoingtolistentoyou.Ifyouaretheonlypersonlisteningtoit,it’slikeapity,right?

Asthequotationsabovetell,extrinsicvaluessuchasfameandacclaimareimportantandin this sense, the outcome might be moreimportantthantheprocessfortheCO.Inthecontextofmusicproduction,thismeansthattheCOistargetingthepublicatlargewiththemusic, as illustrated in one CO’s way ofutilizingtrendstoreachabroaderaudience.Togetsongs,tracksoranyotherend-productgenerated from production sessions out ismoreimportantthantheproductionsessionas such. For the CO, it is important to berenownedasamusicproducer,andfameandstatus is what is sought by for examplereceiving streams on Spotify or performingonstageatfestivals. Assessing the continuum of the teleoaffectivestructure The primary objective and audience areaccumulated to assess the total value of theteleoaffective structure involved in thereproductionofapracticewithinthePracticePortfolio.Whenassessingthevaluesofthem,one objective and audience inevitablybecomes prominent and can be excluded asthe primary objective or audience. Thismeansthatasocialpractice ischaracterizedby one primary audience and one primaryobjective, even though other objectives andaudiencesmightbe targeted, but to a lesserextent. Moreover, the most commonperceptionandcaseisthatacarrierwithself-oriented objectives also has the self as



21

audience, while a carrier with extrinsicobjectives also has the public at large asaudience. However, this is not necessarily true as apractice can still be reproduced for the selfwithself-fulfillmentasobjective,yet,wantingtoreachoutwithit.Meanwhile,aconnectiontheotherwayaround,i.e.extrinsicobjectivesbuttheselfasaudience,ismorestrainedasitbecomes contradicting to have monetaryobjectives,yet,notdistributingtheoutcome.Thesecombinationsmayrenderanassessedvalueendingupin-betweenself-orientedandcommercially oriented on the continuum oftheteleoaffectivestructure. Music production exemplifies thisassessmentasamusicproduceroftenhasaprominent objective and audience, eventhoughthesecanbeconflicting.Accordingly,practiceswere able to bedistinguished intocategories as hobby musicians strived forintrinsic stimulation, as being creative or tohave fun for the self. Meanwhile, the oneswith professional ambitions had extrinsicstimulation, as becoming recognized andearningmoneyontheirtradebyreachingoutwith the music. However, a conflictingexample occurred when a carrier producesmusic to be creative as a primary objective,but still primarily wanting to distribute themusic.Assessingthisonacontinuumimpliesthat practices emerge in-between self-oriented and commercially oriented musicproduction. ThePracticePortfolio The Practice Portfolio’s segments representallpossiblecombinationsofextremeswithinthe two continuums of understandings andthe teleoaffective structure. Eachcombination produces specific conditionsthat only perpetuates within that specificsegmentandsub-practice.Byfocusingontheextremes of the continuums, four

generalizations of segments emerge.Accordingly, these four segments, locatedatthe outermost corners of the PracticePortfolio,arepresented: Pro: High Understandings & CommerciallyOriented The Pro’s high level of understandingsenablesapossibilitytointerlinkelementsofasocial practice to reach a morecommercializedteleoaffectivestructure.Thisimplies that a formal theoretical educationand a combination of experience, musclememory, talent and creativity gives a depthandbreadthofcarryingoutthepractice.Thisprovides tools for how to accommodatemainstream acclaim and reach outwith theoutcome to gainmonetary compensation. APro can bemore consistent in continuouslyprovidingaproduct for themassesandalsodo not necessarily need to emulate or copyothers. Although, attention must be paid towhatispopularamongthemanyforthesocialpracticetoalsobeorbecomeaprofession. Am:LowUnderstandings&Self-Oriented TheAm,onthecontrary,ischaracterizedbybeinginthebeginningofthelearningcurveorhaving the activity as ahobby,due to a lowlevel of understandings combinedwith self-oriented goals and emotive aspirations.Accordingly, the Am lacks experience andformal theoreticaleducation,butcarriesoutthepractice foraself-fulfilling teleoaffectivestructure.TheAmneitherwantsto,noraimsto,executethesocialpracticeasalivelihood,as opposed to the Am-Pro. Instead, the Amcarries out the social practice as a leisureactivity. Pro-Am:HighUnderstandings&Self-Oriented ThePro-Am’ssocialpracticeisanimportantactivitytoreachateleoaffectivestructureforthe self which the high level ofunderstandingsenables.Therichpractical,aswellastheoretical,understandingsallowthe



22

Pro-Am to carry out the practice at aprofessional level. Although, theteleoaffective structure is characterized byself-orientation, and the practice is carriedout to be or become a hobby activity. Thisimpliesthate.g.tobecreativeandstimulatingtheselfissomethingthatispursuedthroughthe activity to a higher degree as theunderstandingsallowagreaterpossibilityofexpressionism. Am-Pro:LowUnderstandings&CommerciallyOriented TheAm-Pro’slowlevelofunderstandingscanlimit the possible ways of connectingelements in a social practice and thereforealso limit the possible ways to achieve acommercialized teleoaffective structure, onthecontrarytoaPro.Thelackoftheoreticaleducationandpracticalskillsandknow-howprovides a framework where the Am mustfocus andmaximize its strengths to achievecommercialaspirations.Therefore, imitatingand copying as well as following trendsbecome key factors to reach out with theoutcome to the masses and for the socialpracticetobeorbecomealivelihood. Concludingdiscussion Althoughmarketsegmentationhasbeen,andstill is, a subject for research withinmarketing literature, the individual remainsas themain unit of analysis. Therefore, thispaperexploresandillustrateshowapractice-theoreticallensenablesanalternativewaytosegment markets based on how and why apractice is reproduced, rather thanwho theconsumeris.Thisisdonebyconceptualizinga practice’s embodied elements ofunderstandings and teleoaffective structureto categorize consumers as individualscarryingoutapractice. Accordingly,thispaperresultsinthePracticePortfolioconsistingoffourgeneralizationsofsegments and sub-practices to categorize

consumerswithinanysocialpractice;thePro,theAm, thePro-AmandtheAm-Pro.Hence,thePracticePortfolioprovidesanaccessibleandapplicabletoolformanagers,andvariousstakeholders, to utilize when segmentingmarkets. Theoreticalcontribution This paper offers two theoreticalcontributions. First, we contribute to thediscussion on market segmentation byoffering an alternative way to think abouthow to segment markets. Rather thanfocusingsolelyonthe individualandfactorssuchasdemographicorpsychographicones,or behavior, lifestyles and socialconstellations,weshowhowpracticetheoryand a focus onwhat people do, rather thanare,advancescontemporarysegmentation.Inthissense,amorede-individualizedpractice-based segmentation model, still accountingfor the individual’s emotions, rethinkssegmentationandcontributestothedomainofsegmentationandmarketingresearch. Second, our paper contributes to thediscussion on practice theory’s applicabilityin marketing research. By illustrating howpractice theory enables a newway to thinkabout market segmentation, we show thatpossibilities of broadening the theoreticaldomain of practice theory to other areas ofmarketingexist. Inthissense,wecontributeto the development and wideningapplicabilityofpracticetheorytootherareas,notpreviouslyexplored. Managerialimplications Overall, the main managerial implication ofthispaperisforthePracticePortfoliotobeastrategic tool. By assessing practice-specificunderstandingsandteleoaffectivestructures,management can rethink how to target aspecific group. By depicting the practice,organizations can understand whichsegments theywant to engagewith, e.g. for



23

management to place and structure theirproducts or to fully specialize within aspecificsegment.Furthermore,managementcanadoptthePracticePortfoliotorecognizestrategic long-term paths to follow andpossibilities to innovate target groups,products and services. Consequently, thefollowing two managerial implicationsillustratehowtounderstandtransformationandchangeinandbetweensegments.First,ofpractice participants, and thereafter ofmaterialarrangement. First, carriers of a practice are not stuck inanyofthesegments,rathertheyaremovingoverseveralsegmentsaspracticestransform.AsdiscussedbyShoveetal.(2012),practicesareconstantlytransformingasnewlinksarebeing made between the components thatmake up a practice. Similarly, our findingsshowthatthewayofhowmusicproductioniscarriedoutisvaryingandtransformingovertime for each carrier. Regardingunderstandings, a constant increase, atdifferentpaces,permeatesallofthesegmentsandsub-practicesobservedinthisstudy.Forteleoaffective structures, on the other hand,no common pattern exists, rather thetransformations take individual paths andchangesinbothdirections.Byacknowledgingthesetypesoftransformations,opportunitiesemergeformanagementtopavethewayfordesiredtransformations,asillustratedbelow. Second, to pave the way implies to alignofferings with the transformation ofsegments and its carriers. As argued byPantzar and Shove (2010), managers andmanufacturers, as well as customers, areinvolved in perpetuating and altering theconnections that can be made betweenelements of a practice. Therefore, from amanagerialperspective,itisthenpossibletoconstruct practices and leverage this bycarefullyplacinganobjectwithinthepractice(Shove & Pantzar, 2005). Similarly, the

material arrangementwithin thepracticeofmusic production can either limit or enablethe possible links to be made to achievecertain ends, as e.g. a carrier can bedependenttoaninterface.Therefore,byfullyunderstanding the practice and itstransformation, management can leveragethe role of material arrangements to guideunderstandings and the teleoaffectivestructure by optimizing offerings to specifictargetgroups. Directionsforfutureresearch As we explore and illustrate howsegmentationcanbeconceptualizedthrougha lens of practice theory, we develop asegmentation model. Consequently, wepresentseveraldirectionsforfutureresearchwhich could develop this approach tosegmentation, and the Practice Portfolio,further.First,thePracticePortfolioshouldbetestedonanothersocialpracticethanmusicproduction, in order to deepen theunderstanding of its generalizability andapplicability on other populations andcontexts. Second, theways of assessing andidentifying sub-practices’ levels ofunderstandingsandteleoaffectivestructuresmight be improved from extensive researchoneachofthecomponents.Henceoptimizingtheperceptionforthewayssub-practicesareconstructed, intermsofunderstandingsandteleoaffective structures. Third, as we haveseenpracticetheoryapplicableintheareaofmarket segmentation, it is of big interest toinvestigatethepossibilitiesforusingpracticetheoryas anenabling lens inother areas assuch. For instance, practice theory mightenable new approaches to phenomena suchas pricing, market communication,competitor analysis and other areas ofmarketingresearch.



24

AcknowledgementsFirst, the authors want to thank GustavBrengesjöatElektron formaking itpossibleforustowritethispaperwithinafieldwearepassionateabout.Second,wearegratefulforthe guidance of our supervisor, BenjaminHartmann, and for sharing this passion forbothmusicandteleoaffectivestructureswithus. Last,butnotleast,thispaperisanoutcomeofanalmostfive-year-longfriendship.Thekind

of friendship underbuilt of two personstakingtheirfirststepsofadulthoodtogetherin a small university town of SouthernSweden.Havinghadthisopportunitytoworkon a daily basis together with one of ourcommon interests is something that is nottakenforgranted.Aftersubmittingthispaper,our friendshipmight not look the same anylonger,however, itwillhopefully foreverbethesame.

References

Alasuutari, P. (1995). Researching Culture:Qualitative Method and Cultural Studies.Sage.

Arsel,Z.&Bean,J.(2012).TasteRegimesandMarket-Mediated Practice, Journal ofConsumerResearch,39:899-917.

Bourdieu,P.(1973).Thethreeformsoftheoreticalknowledge.Information(InternationalSocialScienceCouncil),12(1),53-80.

Bourdieu,P.(1977).OutlineofaTheoryofPractice.(1972)Trans.RichardNice.Cambridge:CambridgeUniversityPress.

Bourdieu,P.(1990).TheLogicsofPractice,trans.RichardNice.Stanford,CA:StanfordUniversityPress.

Cova,B.&Cova,V.(2002).TribalMarketing:TheTribalisationofSocietyanditsImpacton the Conduct of Marketing, EuropeanJournalofMarketing,36(5-6):595-620.

Deci, E.L. (1975). Intrinsic motivation. NewYork:Plenum.

Edström,O.(1997).Fr-a-g-me-n-ts:adiscussiononthepositionofcriticalethnomusicologyincontemporarymusicology.SwedishJournalofMusicology,79(1),968.

Giddens,A.(1984).TheConstitutionofSociety.OutlineoftheTheoryofStructuration. PolityPress,Cambridge.

Haley,R. I. (1968).BenefitSegmentation:ADecision-OrientedResearchTool,JournalofMarketing,32(3):30-35.

Hammersley, M. & Atkinson, P. (2007).Ethnography: Principles in practice.Routledge.

Hargreaves, T. (2011). Practice-ingbehavioural change: Applying socialpractice theory to pro-environmentalbehavioural change, JournalofConsumerCulture,11(1):79-99.

Hartmann, B.J. (2013). Consumption andPractice: Unfolding ConsumptiveMoments and the Entanglement withProductive Aspects. JIBS DissertationSeries,No.093.

Hartmann,B.J.(2016).Peekingbehindthemaskoftheprosumer:Theorizingtheorganizationofconsumptiveandproductivepracticemoments.MarketingTheory,16(1):3-20.

Hirschman, E. C. (1983). Aesthetics,ideologiesandthelimitsofthemarketingconcept,TheJournalofMarketing,45-55.



25

Holt, D. B. (1998). Does Cultural CapitalStructure American Consumption?,Journal of Consumer Research, 25(1): 1-25.

Holttinen,H.(2010).Socialpracticesasunitsof value creation: theoreticalunderpinnings and implications.International Journal of Quality andServiceSciences,2(1):95-112.

Hui, A. (2012). Things in motion, things inpractices:Howmobilepracticenetworksfacilitate the travel and use of leisureobjects, Journal of Consumer Culture,12(2):195-215.

Hui,A.,Schatzki,T.&Shove,E.(2015).TheNexusofPractices.London:Routledge.

Kotler, P. & Keller, K. L. (2012).MarketingManagement. New Jersey, US: PearsonEducation.

Leadbeater,C.&Miller,P.(2004).ThePro-AmRevolution:Howenthusiastsarechangingoureconomyandsociety.Demos.

Magaudda,P.(2011).WhenMateriality‘BitesBack’:DigitalMusicConsumptionPracticesintheAgeofDematerialization.JournalofConsumerCulture,11(1):15–36.

Moisander, J. & Valtonen, A. (2006)QualitativeMarketingResearch:Aculturalapproach.Sage.

Molander, S. & Hartmann, B. J. (2018).Emotion and practice: Mothering,cooking, and teleoaffective episodes.MarketingTheory:1-20.

Ortner,S.B.(1984).Theoryinanthropologysincethesixties.ComparativeStudiesinSocietyandHistory,26(1):126–166.

Pantzar,M.&Shove,E.(2010).Understandinginnovationinpractice:adiscussionoftheproductionandre-productionofNordicWalking,TechnologyAnalysis&StrategicManagement,22(4):447-461.

Plummer, J. T. (1974). The concept andapplicationoflifestylesegmentation,TheJournalofMarketing,33-37.

Reckwitz,A.,(2002).Towardatheoryofsocialpractices.Adevelopmentinculturalist theorizing.EuropeanJournalofSocialTheory,5:243–263.

Regelski,T.A.(2006).‘Musicappreciation’aspraxis.MusicEducationResearch,8(2),281-310.

Rihova, I.,Buhalis,D.,Moital,M.&Gouthro,M. B. (2014). Customer-to-customerValueCo-creationPracticesasaBasisforSegmentation, Proceedings of AMASERVSIG 2014 Conference: ServicesMarketingintheNewEconomicandSocialLandscape, 13-15 June, Thessaloniki,Greece.

Ryle,G.(2000).TheConceptofMind.PenguinBooks:London.

Schatzki, T. R. (1996). Social practices: AWittgensteinian approach to humanactivity and the social. CambridgeUniversityPress.

Schatzki, T. R. (2001). Practice theory: Anintroduction. In: The practice turn incontemporary theory, ed. Schatzki, T. R.,KnorrCetina,K.&vonSavigny,E.London:Routledge:1-14.

Schatzki,T.R.(2002).TheSiteoftheSocial:APhilosophical Account of the Constitutionof Social Life and Change. Penn StatePress.

Schatzki,T.R.(2005).PeripheralVision:TheSites of Organizastions, OrganizationStudies,26(3):465-484.

Schatzki,T.R.(2013).APrimeronPractices.In: Higgs et al. eds. Practice-basedEducation.Rotterdam:SensePublishers.

Shove,E.&Pantzar,M.(2005).Consumers,producersandpractices:Understandingthe inventionandreinventionofNordicWalking.JournalofConsumerCulture,5(1):43–64.



26

Shove,E.,Pantzar,M.&Watson,M. (2012).TheDynamicsofSocialPractices:EverydayLifeandHowitChanges.Sage.

Smith,W.R.(1956).ProductDifferentiationandMarketSegmentationasAlternativeMarketingStrategies,JournalofMarketing,21(1):3-8.

Smith, M. (2017). Berlin’s Modular SynthExpo Superbooth Expands in 2018,Resident Advisor, 6 Nov. Availableonline: https://www.residentadvisor.net/news.aspx?id=40371 [Accessed 2018-04-17].

Wedel,M.&Kamakura,W.A.(2012).Marketsegmentation:Conceptualandmethodologicalfoundations(Vol.8).SpringerScience&BusinessMedia.

Weinstein,A.(2004).HandbookofMarketSegmentation.NewYork:TheHaworthPress.

Welch,D.(2017).ConsumptionandTeleoaffectiveFormations:ConsumerCultureandCommercialCommunications,JournalofConsumerCulture:1-22.

Who Am I, or Pro-Am I?: Developing a Practice-Based … · 2018-07-04 · benefit segmentation and...

Documents

Transcript of Who Am I, or Pro-Am I?: Developing a Practice-Based … · 2018-07-04 · benefit segmentation and...