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IMDS
113,5
712
Received 14 December 2012
Revised 6 February 2013
Accepted 8 February 2013
Industrial Management & Data
Systems
Vol. 113 No. 5, 2013
pp. 712-731
q Emerald Group Publishing Limited
0263-5577
DOI 10.1108/02635571311324160
Event-brand transfer in an
entertainment service:
experiential marketing
Natalia Vila-López and MaCarmen Rodrı́guez-Molina
Departamento de Comercialización e Investigación de Mercados (Marketing),
University of Valencia, Valencia, Spain
Abstract
Purpose – One of the channels a brand can use to create experiences is events. The brand promoting
the event and its sponsors can obtain various benefits in the form of brand image, personality and
notoriety. The main aim of this research is to evaluate the effects that experiencing an event has on
experience with the promoting brand.
Design/methodology/approach – The study analysed the musical event MTV Winter Festival
2010, considering the opinion of 127 attendees to discover the impact of experiencing the MTV
entertainment television channel event in three areas: improved brand experience, improved brand
personality and increased brand reputation. EQS was used to test the proposed model.
Findings – Regarding event experience antecedents, “immersion” has been identified as the most
important one and brand experience as an important effect. Also, brand experience has been found to
have a positive impact on exciting brand personality and exciting brand personality in turn on brand
reputation.
Originality/value – Although two of the hypotheses on the antecedents of emotional event
experience (“surprise” and “participation”) were not confirmed, it can be said that progress has been
made on the benefits of marketing experiences since this is the first empirical investigation to deal
with the connection of event-brand experiences in the area of the arts.
Keywords Experiential marketing, Events, Arts, Entertainment service, Brand experience,
Brand reputation, Brand personality, Structural modelling, Marketing, Brands
Paper type Research paper
1. Introduction
Currently, heads of marketing and communication have to address the problem that
consumers are becoming increasingly less receptive to traditional advertising
(Belch and Belch, 2007). Consumers have been saturated with advertising messages in
conventional communication media and as a result, they have become hardened to
advertising.
The future of marketing might be to look for experiences that provide more than
just commercial exposure, the marketing message or the transaction offering
(Lenderman and Sánchez, 2008). Research into experiential consumption in services
consumer behavior is still very recent and requires more in-depth study. Some studies
emphasize the importance of experiential marketing in the arts (Petkus, 2004), tourism
(Hannam, 2004) and sport (Stenhouse, 2003). In addition, a scale to measure brand
experience has also recently been created (Brakus et al., 2009). Nevertheless, rather
than testing the concept based on empirical data, most studies have focused on
introducing the concepts (Kao et al., 2007).
 Events are an interesting tool to promote experiences, because consumers have the Event-brand
opportunity to become actively involved in areas of personal interest and interaction transfer in
processes that are not possible in daily life (Sistenich, 1999). Particularly in the sphere
of services marketing event marketing shows higher potential, given service properties entertainment
like intangibility or heterogeneity. However, most research into services experiential
marketing focused on events mainly examines sporting events (Martensen et al., 2007;
Kao et al., 2007). In spite of this, “there is now a stream of research which draws on the 713
arts and humanities as a rich source of ideas about marketing” (Fillis, 2009, p. 754).
For this reason, the present paper aims to identify how cultural events lead
attendees to feel emotional experience, and then, better experiences of the brands
promoting the events, in an attempt to demonstrate event-brand experience transfer.
The literature shows that, to date, studies have only addressed the transfer of image
from the event to the sponsoring brand (Gwinner, 1997) or the transfer of cognitive and
effective perceptions from the sponsored entity to the sponsor (Ganassali and Didellon,
1996). However, the transfer between event and brand at the level of experiences has
not been explored, especially in the field of service brands. Therefore, in an
environment saturated with various types of communications, experiential marketing
offers great possibilities due to its capacity to make an impact on consumers under
intense bombardment from advertising (Schmitt, 1999; Lenderman and Sánchez, 2008).
For some years, musical festivals have been very popular events attended by young
consumers en masse. Many brands have started to organize or sponsor this type of
festivals (FIB-Heineken, Heineken Greenspace, MTV Day, MTV Winter, Rock in Rio,
San Miguel Primavera Sound, etc.). The underlying idea is that the atmosphere at such
festivals provides a favorable climate for promoting the products or services behind
the events. Some research suggests that musical festival sponsorship has an impact on
brand recognition, awareness and attitude (Rowley and Williams, 2008). Hence, a new
field of “entertainment marketing” is been proposed, whose objective is to interweave
the brand with consumer entertainment experience according to Hackley and
Tiwsakul (2006). However, many organizations make the mistake of believing that just
because their brands appear at these events then they will achieve higher awareness
and consequently more profits. This objective is only achievable if they are able to offer
the public “something more” in the form of different and innovative experiences with
greater impact (Pine and Gilmore, 1998; Schmitt, 1999; Sistenich, 1999; Lenderman and
Sánchez, 2008).
In this context, this study proposes three major objectives based on six hypotheses.
First, to test if the event characteristics of surprise, participation and immersion
improve emotional event experience (H1-H3). These three antecedents have been
tested previously in other kinds of events, like sports (Kao et al., 2007), and this paper
aims to expand their relevance in promoting cultural events.
Second, to find out whether there is actually a transfer between emotional event
experience and the brand promoting the event (H4). Previous studies have tested
event-brand image transfer (Ganassali and Didellon, 1996), but event-brand experience
transfer remains an unexplored field of research.
Third, to test whether brand emotional experience helps (or otherwise) to improve
brand personality (H5) and brand reputation (H6), given that success requires a
reputed brand in the face of increased competition and consumer information
(Purkayastha, 2009).
IMDS In pursuit of the above objectives, this study analyzes a musical event, the MTV
Winter Festival 2010, considering the opinion of 127 attendees.
113,5
2. Literature review
2.1 Experiential marketing and events in services
Pine and Gilmore (1998) find that economic value progresses from commodities, to goods, to
714 services, and, lastly, to experiences. These authors propose a shift from “service-based
marketing” to “experience-based marketing”. This alternative approach to consumption
questions the rational consumption of products and services and provides a new
perspective for marketing, directing it towards experience (Gavilán et al., 2010). With the
increasing commodification of service-based marketing offerings, companies have to
provide customers with successful experiences in order to gain competitive advantage and
customer satisfaction. Successful experiences are ones that consumers find unique,
memorable and sustainable over time, which they desire to repeat and are enthusiastically
propagated by word-of-mouth (Pine and Gilmore, 1998). Such a result is possible when
consumption is a subjective state of consciousness, with a variety of symbolic meanings,
hedonic responses and aesthetic criteria (Hirschman and Hoolbrook, 1982). In line with the
above, Schmitt (1999) finds that marketing has progressed to a different stage focused on
experiences, where services rather than functionality or packaging are becoming more
important.
In sum, as Heinonen et al. (2010) state:
[. . .] compared to the traditional view experiential marketing means that, besides visible and
controlled interactions, service providers should expand their perspectives in order to get to know
their customers on a deeper level than before. An experience is more than a service. This means
that the ultimate outcome of marketing should not be the service but the customer experience and
the resulting value-in-use for customers in their particular context. Thus, the central question is
how companies can support customers’ ongoing activity and experience structures.
One option experiential marketing uses to establish memorable relations with the
target is event marketing. Event marketing has emerged as a new communication
strategy involving the target audience as active participants at behavioral level. It
provides a valuable way of constructing and strengthening relationships between
brand and consumers, especially for service brands that do not provide any tangible
output for the consumer (Duncan and Moriarty, 1998). Wohlfeil and Whelan (2004)
define event marketing as interactive hyperrealities concerning the brand where
consumers are actively involved at behavioral level, possibly leading to an emotional
link with the brand. The following characteristics differentiate marketing from mere
event sponsorship (Wohlfeil and Whelan, 2004):
(1) experience orientation, because consumers are encouraged to experience brand
reality, rather than being passive addressees (Weinberg and Nickel, 1998);
(2) own initiative from the organization, because marketing experts control the
entire process that creates consumer feelings and experiences;
(3) interactivity, because the event offers a platform for interactive and personal
dialogues between participants, spectators and brand representatives
(Zanger and Sistenich, 1996); and
(4) drama, because consumers are surprised by an emotional experience of brand
reality.
In short, events are a good tool for originating sensations and emotions in attendees. Event-brand
These experiences proceed from the interaction between personal thoughts and events transfer in
and consequently nobody has the same experience as anyone else (Schmitt, 1999). The
research by Kao et al. (2007) indicates that surprise, participation and immersion in a entertainment
sports event are three essential components capable of causing emotional experience
with the event. Below, we generalize these antecedents to the area of musical festivals
with particular emphasis on immersion. 715
2.2 Experiential antecedents in an emotional event: surprise, participation and
immersion
2.2.1 Surprise. Hedonic consumption includes:
[. . .] diversified recreation, sensory merriment, fantasy, enjoyment of beauty, emotional
responses, etc. A large amount of entertainment experience may be included in the process.
Hedonism is a spiritual phenomenon, social consuming activity is considered as pure
individual mental status accompanied by many symbolic meanings, responses of pleasure
and principles of esthetic sensibilities (Chen, 2011, p. 3750).
So, consumer experiences usually relate to the search for fantasies, feelings and
entertainment (Hirschman and Hoolbrook, 1982). Unique or extraordinary experiences
surprise consumers and are therefore memorable. For this reason, marketing experts
need to plan and support unique, creative and original experiences to create lasting
memories in consumers’ minds (Schmitt (1999).
Kao et al. (2007) pioneered analysis of the concept “surprise” that should accompany
any event. The authors regard this concept as the feeling of freshness, exclusivity and
differentiation in the process of consuming products or services. For example, the
actors in a show could appear suddenly from an unexpected place. This feeling of
surprise is able to awaken emotional experiences towards an event. Thus, it can be said
that if actions or other types of activities take place in an event that pleasantly surprise
the public they will develop positive emotions towards the event. Thus, surprise is a
vital antecedent of an emotional experience event as one of its pillars is to surprise the
public so that the experience is memorized and remembered (Lenderman and Sánchez,
2008), therefore:
H1. Surprise is positively linked to emotional experience of the event.
2.2.2 Participation. However, emotional experience is not only achieved through the
surprise provided by the event. It also requires interactive participation from the
public. Thus, participation can be defined as the degree of interaction between
consumers and products, services or environments during consumption (Kao et al.,
2007). For example, attendees could be contacted through face-book to prepare the
show together in advance.
Schmitt (1999) points out that sometimes emotional event experiences come from
indirect appreciation or direct participation. Furthermore, Pine and Gilmore (1998)
found that successful experiences get consumers involved in the activities rather than
simply entertain them. Therefore, active consumer participation during the event is
required so that it can truly be called an emotional experiential event (Pine and
Gilmore, 1998). Additionally, previous studies on event marketing have confirmed that
consumers feel higher emotions because of their voluntary participation in such events
(Drengner, 2003). That is, consumer emotional experience of an event is determined by
IMDS willingness to get involved in the event in one of the following ways (Whelan and
113,5 Wohlfeil, 2006):
(1) participating out of simple professional or academic interest in this type of
marketing or communications strategy (Drengner, 2003);
(2) participating through the brand/product object of the event;
716 (3) participating through event content (main activity of the event) (Wohlfeil and
Whelan, 2004); and
(4) social participation in the event out of a desire to belong to a social community
or neo-tribe associated with the brand (McAlexander et al., 2003) or event
content (Cova and Cova, 2004).

In sum, the more involved consumers are in this type of activity, the stronger their
tendency and desire to take part in them and process relevant information (Zaichkowsky,
1985). This could mean that active participation in events will lead to positive emotions
while experiencing the event (Kao et al., 2007). Thus, as Kao et al. (2007) found in the area
of experiential sports events, the following hypothesis can be put forward:
H2. There is a positive relationship between participants’ participation in the
event and their emotional experience of the event.
2.2.3 Immersion. Immersion is the involvement of consumers when enjoying the
consumption and the ability to forget the passing of time. Immersion makes consumers
emphasise consumption processes rather than results (Kao et al., 2007). The individual
disconnects with the real world. Depending on the situation, immersion may be rapid
or more gradual (Fornerino et al., 2008). For example, a participant could be encouraged
during the spectacle to take an active part in a musical event as an actor, not just as a
passive spectator (singing, sharing the stage with artists). The methodology section
shows how immersion in a musical event can be achieved by using drama.
Consequently, there seems to be a certain coincidence or juxtaposition between
immersion and emotional experience of an event (Fornerino et al., 2008). However, the
literature suggests that immersion in an environment provides access to emotional
event experiences (Damperat et al., 2002; Carù and Cova, 2006), that is, immersion leads
to emotion. So, immersion occurs simply by being there and interacting with other
people and other elements of the environment (process), whereas emotional experience
appears as consumer’s subjective positive feelings of pleasure and arousal (results)
brought about by the presence of these external stimuli.
For event managers, the interest lies in producing a state of immersion that is able
to capture consumers in an unforgettable process, leading them to feel unique
experiences (Arnould et al., 2002). Therefore, it could be supposed that this is the most
significant and important experiential antecedent of those mentioned, as it is not only a
question of participation in the event, but also the event being able to transport an
individual in time and space (Carù and Cova, 2006). Therefore:
H3. There is a positive relationship between immersion of spectators in a given
event and their emotional experience of the event.
In sum, surprise involves sensing (this may seem like an obvious aspect of the arts
experience), participation involves learning (that is, an active participation in the arts
experience, from which the participant acquires or increases skills and/or knowledge) Event-brand
and immersion involves doing (this type of experience allows the patron to “become” transfer in
the artist, and great potential exists to expand such experiences for audiences
(Petkus, 2004). entertainment
2.3 Emotional consequence of an emotional event: brand experience
Regarding event experience, any environment will lead to an emotional state in an 717
individual that can be characterized in terms of the three pleasure, arousal and
dominance (PAD) dimensions (Mehrabian and Russell, 1974). As Kao et al. (2007)
explain, pleasure refers the degree to which the person feels good, joyful, happy or
satisfied in the situation and arousal refers to the degree to which a person feels excited,
stimulated, alert or active in the situation. Dominance refers to the extent to which the
individual feels in control of the situation (Donovan and Rossiter, 1982). The first two
positive emotions (pleasure and arousal) positively influence consumers’ buying
behaviors (Donovan and Rossiter, 1982). Regarding pleasure, for example, playing
well-liked songs should enhance people’s enjoyment, whereas unpopular music might
diminish it. Regarding arousal, for example, big events (with unexpected sounds,
bright lights, smell sensations, etc.) should stimulate individuals, while simple events
might not stimulate them. So, following previous literature, this research associates an
emotional event with emotional pleasure and arousal in a specific situation.
With respect to brand experience, Brakus et al. (2009) were the first to conceptualize
this concept as until their work most research in the experiential field focussed on
product attributes and categorical experiences, rather than experiences offered by
brands. As occurs with product experiences, brand experience varies in form and
intensity (Brakus et al., 2009). Brand experiences do not involve a motivational state;
they can happen when consumers show no interest or have no personal connection
with the brand. Brands with high consumer involvement are not necessarily brands
that evoke the strongest experiences.
Both terms seem to be connected, because as Whelan and Wohlfeil (2006) note, event
marketing lead to emotional links with the brand. By way of summary, Küster et al.
(2009) emphasize that event-brand image transfer is a key concept. This transfer occurs
from the image of the event to the image of brand sponsoring it. Therefore, if the
“image” of the event transfers to the “image” of the brand, it would be interesting to
find out whether in the same way “experience” of the event also transfers to
“experience” of the brand, as proposed in this research.
Therefore, our forth hypothesis is directly related to the emotional event experience
and suggests there is a positive relationship between emotional event experience and
brand experience, with a transfer from one to the other.
H4. Emotional event experience transfers to brand experience.

2.4 Effects of brand experience: brand personality and reputation

According to Aaker (1997), brand personality designates the set of human
characteristics associated with a brand. Aaker introduced this term and used factor
analysis to develop a scale to measure brand personality through five dimensions,
“Sincerity”, “Enthusiasm”, “Competence”, “Sophistication” and “Solidity”. In fact, as the
number of brands has proliferated leading to increased competition in all industries,
differentiation and positioning are increasingly based on symbolic and emotional
IMDS meanings previously associated with the brand (Purkayastha, 2009). Hence, it is
113,5 important to provide a brand with a different, functional personality (Purkayastha,
2009), especially in the sphere of services where functional attributes are less obvious.
Brand experience and brand personality seem to be connected. In their study,
Brakus et al. (2009) clearly differentiate the construct of brand experience from other
brand-related concepts such as brand image (Keller, 1993) and brand personality
718 (Aaker, 1997). As Brakus et al. (2009) point out, forming and up-dating brand
personality is a highly inferential process. In fact, their study confirms that brand
experience is an antecedent of brand personality or in other words, the higher the
general score on the scale of brand experience, the more likely it is that the consumer
will allocate more personality features to the brand. The reverse process (brand
personality preceding brand experience) is less likely as it is not clear how sensory,
affective, intellectual or behavioral experiences can easily lead to an overall assessment
of brand personality (Brakus et al., 2009). Thus, our fifth hypothesis proposes that:
H5. Brand experience will contribute positively to the creation of brand
personality.
According to Purkayastha (2009), a brand with personality will lead to higher
perceptions of reputation. The literature defines brand reputation from
various perspectives. According to Sarkar and Singh (2005) brand reputation is
consumer perception of the brand, consisting in a certain specific quality that consumers
associate with a brand such as authenticity, credibility and trust. Reputation is a
compound aggregate based on operations undertaken by the organization throughout
its life and is formed as the result of consistent company actions over a prolonged period
of time (Herbig and Milewicz, 1993).
In general lines, the above approaches share the common denominator of
considering brand reputation as a global perception of the brand over time (Fombrun
and Van Riel, 1997) which is the result of, or related to the personality that has
previously been carved out by the brand (Purkayastha, 2009). On the same lines,
Argenti and Druckenmiller (2004) explain how brands develop a personality that helps
users to decide whether the product image is appropriate to their needs, thereby
creating brand reputation (authenticity, credibility and trust). Therefore:
H6. There is a positive direct relationship between brand personality and
reputation.
Figure 1 shows the conceptual framework summarizing the above hypotheses.

Surprise
H1
Brand
Personality
Participation H2 Emotional H4 H5
Brand
event H6
Figure 1. experience
experience
Conceptual framework of
event experience-brand H3 Brand
Immersion Reputation
experience transfer
3. Methodology Event-brand
3.1 Justification and importance of the study sector transfer in
The arts sector and more specifically the music industry is a very important sector in
the global economy. According to International Federation of the Phonographic entertainment
Industry (IFPI, 2009) data, music companies spend around 30 percent of their turnover
in developing and marketing artists. Concerts are one of the most important tools for
publicizing artists and building their identity or brand personality. In Spain, concerts 719
are on the rise, according to data from the Ministry of Culture’s Cultural Statistics
Yearbook (2009) which shows an increase in concert halls in Spain from 2004 (334 halls)
to 2008 (469 halls). In addition, according to the 2009 Yearbook, the percentage of the
population attending modern music concerts has risen over recent years.
The annual MTV Winter Festival was chosen to test the proposed model.
The well-known brand MTV Spain promoted this free event. This brand is the name of
a well-known private television entertainment and music channel owned by MTV
Networks Europe (Viacom) and operates under the umbrella of the international MTV
brand. Over 35,000 people watched it live according to data from MTV Spain, with the
group Arctic Monkeys heading the lineup in this third edition.
This event is a clear example of event marketing from an experiential approach in
the arts sector for two reasons. First, the MTV Spain brand states that it is the
promoter and organizer of the event rather than the sponsor (the Valencia Regional
Government provided funding for MTV Spain to organize the event). Furthermore, the
event meets the four characteristics that differentiate it from mere sponsorship of
events (Whelan and Wohlfeil, 2006):
(1) Experience orientation. Attendees were encouraged to experience the reality of
the MTV brand through the concerts that the brand organized and promoted.
The experience consisted in the artists speaking to attendees, encouraging them
to sing, jump and clap to provide more rhythm to their songs.
(2) The organisation’s own initiative. MTV Spain, as the company organizing the
event, had full control over the way the experience affected attendees. It took
care of all the decoration, assembly and sound tests using the latest technology.
(3) Interactivity (participation). MTV Spain encouraged and promoted the use of
various interactive platforms fostering a two-way dialogue with attendees.
In the case of MTV Winter, this dialogue was carried out mainly through
internet using diverse promotional campaigns for the event (facebook page,
reporter@digital, Desface by the face, etc.).
(4) Drama (immersion). The artists, in addition to color animations and images
projected on stage, provided this. The location of the event also helped to create
a spectacular innovative atmosphere and surroundings in the form of the City of
Arts and Sciences. Additionally, participants were encouraged to take part in
the musical event (singing, sharing the stage with artists, etc.).

3.2 Information gathering

In a preliminary step to the quantitative gathering of data, a qualitative stage was carried
out where three experts analyzed the suitability of the questions in the questionnaire. Then,
the appropriate modifications mainly concerning the adaption of the scales proposed by the
literature to the musical field and to the Spanish language were made. Two of the experts
IMDS frequently attend and coordinate large-scale musical festivals and gave additional
113,5 information about the recommended length of the questionnaire. The third expert was a
local marketing manager for the MTV brand. The questionnaire was also pre-tested on
30 experts from the Department of Commercialization and Market Research at the
University of Valencia.
After the experts approved the questionnaire it was administered during the
720 performance of the last group at MTV Winter 2010. The event only lasted a few hours and
so made data collection more complicated as it could only be certain that interviewees had
attended the event if they were present while it was being held. Each interview lasted
around 10 minutes, and was personally administered by the researchers of this paper.
A total of 127 questionnaires were collected. This sample is appropriate for this type of
studies (Craig et al. (2006) tape-recorded phenomenological interviews with 36 coffee shops
to study Starbucks experiential marketing, Brakus et al. (2009) interviewers intercepted
150 consumers in the shopping streets of two medium-sized cities). The sample profile is
shown in Table I. The final questionnaire items can be consulted in Table II.
Although accessing consumers’ subjective experiences requires research methods
that are typical of the experiential consumption research field (Hirschman and
Hoolbrook, 1982), following recent works (Kao et al., 2007; Brakus et al., 2009), this
paper uses a more quantitative approach based on causality with data obtained at a
particular point of time. The above authors underline two main justifications for this
approach:
(1) It permits to predict in the future event experience effects and emotional brand
experience effects.
(2) Previous experimental studies have already defined the concepts of model and
its measurement scales, so longitudinal studies are not needed.

Gender
Men 44.1%
Women 55.9%
Age
15-20 51.2%
21-26 34.6%
27-34 14.2%
Average age 21.6 years
Education
No formal education 3.1%
Primary studies 12.6%
Secondary education 22.8%
Higher studies 14.9%
Three-year university studies 38.6%
Five-year university studies 8%
Data collection date 13 February 2010
Total interviewees ( *) 127 interviewees
Table I. Sampling Attendees at concert that could be interviewed in
Profile of the sample optimal conditions
of attendees at MTV Sample error 8.87%
Winter 2010 interviewed
for this study Note: Significant at: *p , 0.05
Concept measured Scale items Authors

Surprise at the event

The feeling of freshness, uniqueness and distinctiveness in 1. I can see surprising, good performances Kao et al. (2007)
the processes of consuming products or services 2. I can see performances which do not compare with those
seen in television broadcasts
3. I can see some unexpected performances
Participation in the event
The degree of interaction among consumers and products, 1. I have taken part in the activities proposed by MTV Kao et al. (2007)
services or environments during consumption 2. I have interacted with MTV
Immersion
The involvement of consumers when enjoying the 1. I forgot about time Kao et al. (2007)
consumption and the ability to forget the passing of time. 2. I feel comfortable watching this event
Immersion makes consumers emphasize consumption 3. I enjoyed this event
processes instead of results 4. I am involved in this event
Emotional experience of the event
Consumer subjective positive feelings aroused by external 1. The event provides suspense/emotion (or you get hooked) Kao et al. (2007)
stimuli, such as pleasure and arousal 2. The event is magnificent/wonderful (I admired it)
3. I am pleased with the atmosphere
4. I am happy with tonight’s experience (items measured by
semantic differential scales)
Brand experience
Subjective and internal responses (sensations, feelings and 1. This brand has a strong visual impact or on the other Brakus et al. (2009)
cognitions) and behavioral responses evoked by brand- senses
related stimuli that are part of the design, packaging, 2. I find this brand interesting from a sensitive point of view
communication, environment and identity of a brand 1. I find this brand attractive
2. This brand makes me experience sensations and feelings
3. I have stable emotions towards this brand
4. This brand is an emotional brand
5. When I visualize it, this channel makes me move, I cannot
keep still
6. This brand provides physical experiences
(continued)
entertainment
Event-brand

Scales used for the study

721

Table II.
transfer in
 722
113,5
IMDS

Table II.
Concept measured Scale items Authors

7. This brand is action oriented

8. I get plenty of ideas when I find this brand
9. This brand makes me think
10. This brand stimulates my curiosity and problem solving
Brand personality
Is the set of human characteristics associated with a brand Excitement Aaker (1997) and
1. Daring Swaminathan et al. (2009)
2. Energetic
3. Imaginative
4. Extrovert
Brand reputation
Certain specific qualities that consumers associate with a 1. It is one of the best television channels (for music) Martı́nez and Pina (2005)
brand such as authenticity, credibility and trust (authentic)
2. The channel is committed to society, it delivers what it
promises (credible)
3. The channel is well consolidated in the market (trusted)
Source: The authors’ compilation
3.3 Measuring the concepts Event-brand
The scales used to measure the different concepts were based on the literature review. transfer in
Table II shows the concepts and the items measured on a five-point Likert scale.
entertainment
4. Results
The above hypotheses were tested on a structural equations model using maximum
robust likelihood with EQS 6.1 software. Although the sample size was 127, the
723
relation between the number of parameters to estimate and the degrees of freedom of
our model permit the use of this technique with satisfactory fit index values
(MacCallum and Hong, 1997).
Nevertheless, before testing the model the scales were evaluated to approximate the
seven constructs using confirmatory factor analysis in order to determine scale validity
and “reliability”. Factor loadings for some items did not exceed 0.5. Some loadings also
gave poor results in R2 and were discarded. After purging, the factors and scales
contained the items shown in Table III. After eliminating the items which did not
satisfactorily comply with the proposed criterion and having made the corresponding
re-specifications, model fit was satisfactory with a x 2 value of 356.021 (231 GL) and a
likelihood of 0.00. The other indicators showed the following results: RMSEA: 0.066;
CFI: 0.907; NNFI: 0.90. All these indicators show acceptable values to indicate a good

Composed
Factor Indicator Load t-value Cronbach’s a reliability AVE

Surprise SPR1 0.71 * * * 4.02 * * * 0.70 0.70 0.51

SPR2 0.71 * * * 5.22 * * *
Participation PT1 0.70 * * * 3.60 * * * 0.78 0.79 0.72
PT2 0.92 * * * 1.99 * *
Immersion INM2 0.86 * * * 4.18 * * * 0.85 0.85 0.80
INM3 0.85 * * * 3.32 * * *
Emotional experience of the EXPE2 0.61 * * * 6.66 * * * 0.72 0.74 0.59
event EXPE3 0.68 * * * 5.61 * * *
EXPE4 0.80 * * * 6.14 * * *
Brand experience BEXP4 0.78 * * * 6.78 * * *
BEXP6 0.80 * * * 5.93 * * * 0.90 0.92 0.87
BEXP7 0.77 * * * 6.77 * * *
BEXP8 0.83 * * * 6.29 * * *
BEXP9 0.68 * * * 4.37 * * *
BEXP10 0.77 * * * 5.12 * * *
BEXP11 0.74 * * * 6.39 * * *
BEXP12 0.71 * * * 7.59 * * *
Brand personality BPERS1 0.89 * * * 3.74 * * * 0.88 0.89 0.89
BPERS2 0.86 * * * 4.39 * * *
BPERS3 0.78 * * * 5.51 * * *
BPERS4 0.72 * * * 5.90 * * *
Brand reputation REP1 0.79 * * * 4.51 * * * 0.77 0.78 0.66 Table III.
REP2 0.64 * * * 5.54 * * * Measurement instrument
REP3 0.78 * * * 4.57 * * * for the structural model:
Reliability and
Note: Significant at: * *p , 0.05 and * * *p , 0.01 convergent validity
IMDS model fit. Composed reliability is good for all factors as it exceeds the minimum
113,5 threshold of 0.7 (Nunnally and Bernstein, 1994), as do the values for Cronbach’s a and
the average variance extracted (Table III).
After studying model reliability, “convergent and discriminant validity” were
analyzed. Table III shows that all the t values of the factor loadings are significant with a
probability of 0.01 except for parameter PT2 whose t statistic is significant at 5 percent.
724 The Lagrange indicators test suggests loading variable 46 (REP2) to factor 6 (brand
experience). Given that this improvement is not particularly significant and lacks
theoretical support, we rejected the re-specification. Discriminant validity was evaluated
using Anderson and Gerving’s (1988) confidence threshold test and the variance-extracted
test (Fornell and Larcker, 1981). The confidence interval test consists in calculating a
confidence interval of ^2 standard errors between factor correlations and determining if
this interval includes 1. If it does not, discriminant validity is confirmed. The
variance-extracted test calculates the variance-extracted index for each factor and
compares it with the square of correlations between two factors so that discriminant
validity exists if the variance-extracted indexes for the two factors are higher than the
squared correlation. Table IV shows that discriminant validity is fulfilled for all factors.
The structural model was evaluated using the robust maximum likelihood method run
in EQS 6.1. Statistics confirm that the model shows an acceptable fit with the data structure
(x 2 ¼ 360.77 (GL: 236); GFI: 0.89; NNFI: 0.91; CFI: 0.907; IFI: 0.910; RMSEA: 0065; RMSEA
INTERVAL: 0.051-0.077). As Table V shows, four of the six hypotheses cannot be rejected.
Regarding the “antecedents of emotional event experience”, a positive influence of
immersion on emotional experience of the event (H3) was found (Table V). That is,
when attendees reach a high degree of immersion, their emotional experience of the
event is greater, in line with the results obtained by Kao et al. (2007). This immersion is
the result of consumer interaction with a closed, secure and theme-based experiential
context (Carù and Cova, 2006). In short, as tested in the literature, the results confirm
that the level of immersion in the experiential environment will influence consumer
experience (Fornerino et al., 2008). Furthermore, previous studies add that immersion
can cause strong interactions with other people (Luminet et al., 2000). These
interactions vary in intensity during the experience which can be reinforced, enabling
the audience to experience the event more freely and intensely (Petr, 2002).
The other antecedents of experience with the event (surprise and participation) have
not been confirmed in this present model. That is, H1 and H2 were rejected because
values were not significant (Table V). Therefore, in the transfer to musical events, our

F1 F2 F3 F4 F5 F6 F7

F1 0.51 0.365; 0.099 0.909; 0.609 0.818; 0.430 0.483; 0.051 0.463; 0.023 0.715; 0.307
F2 0.01 0.72 0.404; 0.004 0.601; 0.205 0.682; 0.35 0.415; 0.023 0.437; 0.021
F3 0.50 0.04 0.80 0.929; 0.701 0.42; 0.032 0.462; 0.078 0.594; 0.214
F4 0.39 0.16 0.66 0.58 0.714; 0.394 0.665; 0.313 0.736; 0.38
F5 0.07 0.26 0.05 0.30 0.86 0.582; 0.25 0.646; 0.306
F6 0.05 0.04 0.07 0.23 0.17 0.82 0.776; 0.488
Table IV. F7 0.26 0.05 0.16 0.31 0.22 0.39 0.66
Measurement instrument:
discriminant validity Notes: Below the diagonal: estimated interfactor correlation; diagonal: average variance extracted
 Event-brand
Standardized Confirmed/
Structural relation coefficient t-value rejected transfer in
Antecedentes of emotional event experience
entertainment
H1: surprise ! emotional event experience 0.10 ns 0.59 H1: rejected
H2: participation ! emotional event experience 0.30 ns 1.38 H2: rejected
**
H3: immersion ! emotional event experience 0.64 3.65 H3: accepted 725
Effects of emotional event experience
H4: emotional event experience ! emotional brand 0.54 ** 5.49 H4: accepted
experience
H5: emotional brand experience ! exciting brand 0.45 ** 4.74 H5: accepted
personality
H6: exciting brand personality ! brand reputation 0.65 ** 6.92 H6: accepted
Notes: Significant at: *p , 0.05 and * *p , 0.01; ns – not significant; goodness of fit indexes
47 (236 GL) ¼ 360.77; p ¼ 0.000; GFI ¼ 0.899; NFI ¼ 0.81; NNFI ¼ 0.90; CFI ¼ 0.907; IFI ¼ 0.910; Table V.
RMSEA ¼ 0.065 Hypotheses testing

results show that neither surprise in the event nor participation generates emotional
experience of the event.
In sum, it is only immersion in the event itself that explains the emotions aroused by
the event. These results are, to a certain extent, in line with those of Kao et al. (2007),
where the t statistic value for H1 (surprise) and H2 (participation) is, respectively, 2.34
and 2.97 and for H3 (immersion) it is 9.77. So, although in their model the three
hypotheses are significant, the value of the first two is well below the third, suggesting
the importance of immersion in event experience.
The results for the “effects of emotional event” “experience” suggest a positive,
significant and direct impact on brand experience, thereby confirming H4 (Table V).
Therefore, it is accepted that there is a brand-event experience transfer equivalent to the
event-brand image transfer corroborated in various studies on brand sponsorship of sports
events (Ganassali and Didellon, 1996; Gwinner, 1997; Küster et al., 2009). Similarly, this
result supports the event-brand association developed by Keller (1993) where experience of
the event is reflected in the brand experience in consumers’ minds. This transfer is of vital
importance for the brand promoting the event as otherwise organizing the event will be
meaningless for the brand as it would not achieve one of event marketing’s main objectives,
that of fostering emotional links with the brand (Whelan and Wohlfeil, 2006).
It can also be confirmed that there is a positive relationship between brand
experience and brand personality (H5) (Table V), as corroborated by Brakus et al.
(2009). This relationship between brand experience and personality arises in response
to contact with the brand and includes a categorisation process. However, forming and
updating brand personality is a highly inferential process (Venkataramani et al., 2005).
In this regard, a judgment on a characteristic or feature of brand personality (sincerity,
enthusiasm, competence, sophistication, etc.) can be underlined when consumers pay
attention to their sensory, affective, intellectual or behavioral experiences with the
brand. Brand experiences are therefore used as a set of pieces of information (Pham,
2004) that can strengthen (for good or bad) the formulation of a brand personality
judgment (Brakus et al., 2009).
Finally, brand personality has been found to positively influence brand reputation
(H6) (Table V) as Argenti and Druckenmiller (2004) argue. In this case brand
IMDS personality associations activated in consumers’ memories affect their behavior and
113,5 attitudes towards the brand (Wysong, 2000). That is, these brand associations, which
are opinions, inferences, beliefs, information and global evaluations are caused in
consumers’ minds when they interact with the brand, leading them to form an opinion
on the brand’s characteristics thereby forming the brand’s personality which over time
will form its reputation (Argenti and Druckenmiller, 2004).
726 In sum, this study also corroborates two indirect effects of emotional event experience:
improvements in brand personality (H5) (through brand experience improvements) and
improvements in brand reputation (H6) (through brand personality improvements).

5. Conclusions, implications and future research lines

By taking a real musical event (able to generate these effects) that was sustained by an
entertainment service brand (MTV channel), this study has contributed to further
understanding of experiential marketing. In particular, it provides a better
understanding of “emotional experience at an event”, its antecedents (surprise,
participation and immersion) and its consequences (brand experience, brand
personality and brand reputation).
This study identifies immersion as the most important antecedent of emotional
event experience. And brand experience is a significant effect of emotional event
experience. Brand experience has a positive impact on brand personality and brand
personality in turn affects brand reputation. Although two of the hypotheses on the
antecedents of emotional event experience (surprise and participation) were not
confirmed, progress has been made on the benefits of marketing experiences since this
is the first empirical investigation to deal with the transfer of event-brand experiences
in the area of the arts.
The above information is the basis for some recommendations for brand managers.
First, they should “improve brand emotional experiences” because our results show
that this is a powerful means of attracting and building brand personality and
reputation, and, consequently, brand loyalty (Arnould et al., 2002). Indeed, one of the
differences between service and product brands is that there are far more points of
contact between service brands and stakeholders (especially consumers), necessitating
a more coherent communication strategy internally and externally (De Chernatony and
Segal-Horn, 2003). To increase brand experience, brand service managers should
encourage pleasant and memorable moments at all brand-consumer interaction
process (Fournier, 1998). Although consumers can augment brand experience in their
own homes, from the organization’s point of view, the main experiential contexts are
those that enable the process of accessing and living the experience to be controlled
and directed (Carù and Cova, 2006).
Second, and related to the above, service brand managers could “develop emotional
events” to establish emotional links with their customers. Our results show, in line with
Jenkins’ (2004) study, that when brands are included in an entertainment experience,
the brand producing the entertainment and the event are mutually reinforced. To
achieve this reinforcement, event designers should address attendees’ needs, because
successful service brands depend on good communication programs to support greater
consistency in delivering the service experience, at whatever point the customer’s
contact with the organization occurs (Camp, 1996). Furthermore, because consumer
behavior in rich societies is largely driven to achieve happiness and enjoyment of
present life (Opaschowski, 1998), to compensate for deficits in their daily lives (Mitchell Event-brand
and Richard, 1988), events that provide extraordinary experiences with the brand are transfer in
recommended (Pine and Gilmore, 1998; Schmitt, 1999; Whelan and Wohlfeil, 2006). In
the particular case of musical events, music itself is an effective marketing tool that entertainment
helps consumers to establish emotional connections with the brand. In this regard,
concerts are recommended as an effective way of reinforcing service brands
personality and reputation among young people, when music can give rise to an 727
integrated marketing campaign (Hafez and Ling, 2006).
Third, emotional events should be planned considering the relevance of “forcing
consumers’ event immersion”, because this propagates emotional brand feelings. This
paper has corroborated the importance of event immersion. To achieve immersion,
Carù and Cova (2006) recommend three itineraries:
(1) accompanying the consumer, that is facilitating immersion either through the
organization’s staff acting as guide, or through people of reference for the
consumer;
(2) promoting collective actions, that enable consumers to share the experience
with the groups they belong to; and
(3) stimulating self-determination, which enables consumers to be the leading
players in the consumption experience with the brand through workshops,
courses, seminars [. . .] that is, the brand fosters consumers’ active participation
(Pine and Gilmore, 1998).

Also, various material factors can help to achieve this state of immersion including
place, design of the surroundings (Mencarelli, 2005), the script and use of new
technologies (Damperat et al., 2002).
Four, various brand physical factors (e.g. odors, furniture or appearance of contact
staff) which can also help to achieve emotions should also be carefully designed to
improve the tangibility of service brands. As Getz and Andersson (2010, p. 552)
conclude:
[. . .] all festivals should adopt basic marketing strategies, namely constant improvement
through the fostering of creativity and innovation, customer research, and the pursuit of both
loyal and new audience segments. Developing strong core values and controlling the festival
brand are important elements.
Finally, and despite the fact that the results tend to justify, at least partially, the
proposed theoretical model, they should be taken cautiously in view of certain
limitations with the study. First, the sample taken during the event is insufficient and
was obtained in a single moment (event) with an incidental or non-probabilistic
sampling method. The study needs to be replicated using more representative samples
of audience diversity at this type of events to improve model validity, extend the
results and justify any generalization. Future research with probabilistic sampling
methods may provide more information on the event-brand experience transfer. In
addition, this paper has extended to cultural events the antecedents of emotional event
experience in Kao et al.’s (2007) proposal for sports events. Further studies may add
other factors able to explain improved event experience (i.e. factors related to the event
organizers).
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About the authors

Dr Natalia Vila-López is a Professor in Marketing in the Department of Marketing in the
Economics School at the University of Valencia. She has carried out research on topics such as
competitive positioning, identification of strategic groups/competitive groups and the
application of multidimensional scaling in marketing. Her research work has been published
in European Journal of Marketing; International Marketing Review; Journal of Consumer
Marketing; Marketing Intelligence and Planning; Journal of Food Products Marketing; Journal of
Relationship Marketing; Innovative Marketing; Information Management; Journal of Marketing
Management; Journal of Strategic Marketing; European Journal of Innovation Management;
Qualitative Market Research: An International Journal; Journal of Euromarketing; The Marketing
Review; Journal of Global Marketing; Journal of Travel and Transport Marketing; Sex Roles;
Equal Opportunites International; Journal of Food Products Marketing; Journal of Teaching in
International Business; Neural Computing & Applications; Journal of Marketing Trends; Micro
& Macro Marketing; Multicultural Education & Technology Journal; Quality & Quantity; Tourism
Economics; Innovar; International Journal of Quality and Reliability Management; Cross Cultural
Management: An International Journal, etc. She has presented papers at several conferences
such as EMAC, AM and AMS. Natalia Vila-López is the corresponding author and can be
contacted at: Natalia.Vila@uv.es
MaCarmen Rodrı́guez-Molina is a Phd student at the University of Valencia.

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