政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/155456

政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/155456

English | 正體中文 | 简体中文 | Post-Print筆數 : 27 | 全文笔数/总笔数 : 114396/145431 (79%)
造访人次 : 53066993 在线人数 : 311

RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.

搜寻范围

查询小技巧：

您可在西文检索词汇前后加上"双引号"，以获取较精准的检索结果

若欲以作者姓名搜寻，建议至进阶搜寻限定作者字段，可获得较完整数据

进阶搜寻

主页 ‧ 登入 ‧ 上传 ‧ 说明 ‧ 关于政大典藏 ‧ 管理

到手机版

政大機構典藏 > 創新國際學院 > 全球傳播與創新科技碩士學位學程 > 學位論文 > Item 140.119/155456

请使用永久网址来引用或连结此文件: https://nccur.lib.nccu.edu.tw/handle/140.119/155456

题名:	虛擬演唱會的科技應用與商業潛質 Technical Applications and Business Potentials of Virtual Concerts
作者:	李芫萱 Li, Yuan-Syuan
贡献者:	林日璇 Lin, Jih-Hsuan 李芫萱 Li, Yuan-Syuan
关键词:	虛擬演唱會直播演唱會全息投影虛擬實境(VR) 擴增實境(AR) 音樂產業技術應用商業潛力票務與定價觀眾參與 Virtual Concerts Live Streaming Concerts Holograms Virtual Reality(VR) Augmented Reality(AR) Music Industry Technology Applications Business Potential Ticketing & Pricing Audience Engagement
日期:	2024
上传时间:	2025-02-04 15:45:54 (UTC+8)
摘要:	隨著COVID-19疫情的爆發，虛擬演唱會作為音樂產業的新興形式，迅速崛起並引起廣泛關注。本研究深入探討了三種主要的虛擬演唱會類型：直播演唱會、全息影像演唱會及虛擬實境（VR）演唱會，並透過三個成功的案例進行分析：BTS的《MAP OF THE SOUL ON:E》演唱會、初音未來的全息演唱會和Travis Scott的《Astronomical》虛擬演唱會。研究重點在於虛擬演唱會的技術應用、商業模式及其未來發展潛力，並討論了虛擬演唱會所面臨的挑戰，包括技術障礙、觀眾的接受度、情感需求以及虛擬演唱會與傳統現場演唱會之間的差異。本研究指出，儘管虛擬演唱會在實現技術需求上面臨挑戰，如網路頻寬、延遲問題，以及缺乏現場互動等，但它仍具備顯著的商業潛力。尤其是擴增實境（AR）與虛擬實境（VR）技術的融合，為虛擬演唱會提供了更具沉浸感的體驗，並開創了新的收入模式，如動態定價、虛擬商品銷售及訂閱制服務等。未來，虛擬演唱會可通過多元的票務方式和跨平台的創新形式，滿足觀眾的需求，進一步提升觀眾參與度與滿意度，並對音樂產業的長期發展產生深遠影響。 With the outbreak of COVID-19, virtual concerts have emerged as a significant and innovative format in the music industry. This study explores three primary types of virtual concerts: live streaming concerts, hologram concerts, and virtual reality (VR) concerts, analyzing three successful case studies: BTS's "MAP OF THE SOUL ON:E," Hatsune Miku's hologram concerts, and Travis Scott's "Astronomical" virtual concert. The research focuses on the technical applications, business models, and future potential of virtual concerts, and discusses the challenges they face, including technological barriers, audience acceptance, emotional needs, and the differences between virtual and traditional live concerts. The study highlights that, despite challenges related to technology—such as bandwidth, latency, and the lack of live audience interaction—virtual concerts still hold significant business potential. The integration of augmented reality (AR) and virtual reality (VR) technologies offers immersive experiences, opening up new revenue models such as dynamic pricing, virtual merchandise sales, and subscription-based services. In the future, virtual concerts can meet audience needs through diverse ticketing methods and cross-platform innovations, further enhancing audience engagement and satisfaction, which will have a lasting impact on the long-term development of the music industry.
參考文獻:	Anderson, N. (2021, October 11). Hatsune Miku, virtual idols, and transforming the popular music experience. MUSIC.OLOGY.ECA. https://doi.org/10.2218/music.2021.6478 Applefeld Olson, C. (2020, July 13). How artists can optimize the virtual concert experience. Forbes. https://www.forbes.com/sites/cathyolson/2020/07/13/how-artists-can-optimize-the-virtual-concert-experience/ Bowman, N. D. (2021). Interactivity as demand: Implications for interactive media entertainment. In P. Vorderer & C. Klimmt (Eds.), The Oxford handbook of entertainment theory (pp. 647–670). Oxford University Press. Brown, S. C., & Knox, D. (2017). Why go to pop concerts? The motivations behind live music attendance. Music. Sci., 21, 233–249. https://doi.org/10.1177/1029864916650719 Burland, K., & Pitts, S. (Eds.). (2014). Coughing and Clapping: Investigating the Audience Experience. New York, NY: Routledge. CJ Wire. (2022, March 13). “BTS Permission to Dance on Stage – Seoul: Live Viewing” becomes highest grossing worldwide event cinema release. Celluloid Junkie. https://celluloidjunkie.com/wire/bts-permission-to-dance-on-stage-seoul-live-viewing-becomes-highest-grossing-worldwide-event-cinema-release/ Cox Hospitality Network. (2024, September 1). 6 concert industry technology trends redefining live music. Cox Hospitality Network. https://coxhn.com/blog/special-events/2024/09/01/concert-technology-trends/ Deng, J., & Pan, Y. (2023). Evaluating influencing factors of audiences’ attitudes toward virtual concerts: Evidence from China. Behavioral Sciences, 13(478). https://doi.org/10.3390/bs13040478 Ducarroz, C., & Albinsson, P. (2023). The show must go on: Young consumers’ virtual live music event experiences during COVID-19. Developments in Marketing Science: Proceedings of the Academy of Marketing Science. https://doi.org/10.1007/978-3-031-24687-6_46 Fernandes, M., Mallmann, N., & Shin, S. (2024). The rise of augmented reality in live music events: The cases of Snapchat and Gorillaz. Bus. Commun. Res. Pract., 7(1), 58–63. https://doi.org/10.22682/bcrp.2024.7.1.58 Gray, J. (Ed.), Sandvoss, C. (Ed.), & Harrington, C. L. (2007). Fandom: Identities and communities in a mediated world(1st ed.). New York University Press. https://nyupress.org/books/9780814731819/ Grand View Research. (2021). Virtual events market size, share & trends analysis report by type (webinars, VR), by end use (corporate, educational, healthcare), by region, and segment forecasts, 2020-2027. Retrieved from https://www.grandviewresearch.com/industry-analysis/virtual-events-market Ho, Y.-T. (2024). How to use virtual reality to create consumers' viewing experience in contemporary concerts (Master's thesis). National Chengchi University. https://hdl.handle.net/11296/b9c498 Hwang, Y., & Shaomian, A. (2022). Life goes on: How BTS has turned virtual live concerts during the COVID-19 pandemic into showbiz dynamite. MEIEA Journal, 22(1), 77–101. https://doi.org/10.25101/22.3 Lee, M. (2020, October 12). BTS' online concert draws nearly 1 mln viewers from 191 countries: Agency. Yonhap News Agency. https://en.yna.co.kr/view/AEN20201012008900315 Legal Entertainment. (2021, February 9). The future of live events: AR, VR, and advertising. Forbes. https://www.forbes.com/sites/legalentertainment/2021/02/09/the-future-of-live-events-ar-vr-and-advertising/ Mares, J., & Pizzi, M. (2021). Unlocking the potential of virtual concerts: A research agenda. Journal of Business Research, 135, 209–212. https://doi.org/10.1016/j.jbusres.2021.02.046 Music Ally. (2020, May 28). What is the future of virtual concerts on Fortnite and other online games? Music Ally. https://musically.com/2020/05/28/what-is-the-future-of-virtual-concerts-on-fortnite-and-other-online-games/ Novecore. (2023). The future of virtual concerts. Retrieved from https://blog.novecore.com/the-future-of-virtual-concerts/ Oliver, P., & Lalchev, S. (2022). Digital transformation in the music industry: How the COVID-19 pandemic has accelerated new business opportunities. In Digital transformation and business innovation (pp. 190). Springer. https://doi.org/10.1007/978-3-031-09532-0_4 Olson, C. A. (2020, July 13). How artists can optimize the virtual concert experience. Forbes. https://www.forbes.com/sites/cathyolson/2020/07/13/how-artists-can-optimize-the-virtual-concert-experience/ Pollstar. (2023, December 16). Taylor Swift sets all-time touring record with $1 billion gross. Pollstar. https://news.pollstar.com/2023/12/16/taylor-swift-sets-all-time-touring-record-with-billion-dollar-gross/ Rasmussen, M. (2021, September 7). Touring the musical metaverse: Virtual concerts are here to stay. Virtual Humans. https://www.virtualhumans.org/article/touring-the-musical-metaverse-virtual-concerts-are-here-to-stay Rattanadilok Na Phuket, P., Boonyanan, A., Jamieson, I. A., & Mongkol, K. (2022). A study on the effect of streamed concert experiences on Generation Z audience. BERAC Conference Proceedings, 1(3), 327–339. Schippers, M. Y. (2015). Live music concert attendees: Motivation, satisfaction & loyalty (Master's thesis). Cultural Economics and Entrepreneurship, Erasmus University Rotterdam. Scorolli, C., Grasso, E. N., Stacchio, L., Armandi, V., Matteucci, G., & Marfia, G. (2023). Would you rather come to a tango concert in theater or in VR? Aesthetic emotions & social presence in musical experiences, either live, 2D or 3D. Computers in Human Behavior, 149, 107910. https://doi.org/10.1016/j.chb.2023.107910 Silverberg, J. L., Bierbaum, M., Sethna, J. P., & Cohen, I. (2013). Collective motion of humans in mosh and circle pits at heavy metal concerts. Phys. Rev. Lett., 110, 1–5. https://doi.org/10.1103/PhysRevLett.110.228701 Silversea Media. (2023, August 28). Revolutionizing live events: The fusion of VR and AR in concert experiences. Silversea Media. https://silverseamedia.medium.com/the-fusion-of-vr-and-ar-in-concert-experiences-c41d3ebf5997 Swarbrick, D., Bosnyak, D., Livingstone, S. R., Bansal, J., Marsh-Rollo, S., Trainor, L. J., & Woolhouse, M. H. (2018). How live music moves us: Head movement differences in audiences to live versus recorded music. Frontiers in Psychology, 9, 2682. https://doi.org/10.3389/fpsyg.2018.02682 TAICCA 文化內容策進院. (2023, April 30). K-POP大玩NFT韓國下一步怎麼走？TAICCA 文化內容策進院. https://taiccaissue.taicca.tw/article/research-3d-2 Trax Analytics. (2024, February 20). 8 live entertainment trends shaping the industry in 2024. Trax Insights. https://traxinsights.com/2024/02/20/live-entertainment-industry-trends/ Universal Music Group. (2024, March 26). HYBE and Universal Music Group announce new global alliance. Universal Music Group. https://www.universalmusic.com/hybe-and-universal-music-group-announce-new-global-alliance/ Venkatesan, T., & Wang, Q. J. (2023). Feeling connected: The role of haptic feedback in VR concerts and the impact of haptic music players on the music listening experience. Arts, 12(148). https://doi.org/10.3390/arts12040148 Webster, A. (2016, October 14). I went to a Hatsune Miku concert in my living room: A virtual pop star in virtual reality. The Verge. https://www.theverge.com/2016/10/14/13285044/hatsune-miku-vr-future-live-playstation-vr
描述:	碩士國立政治大學全球傳播與創新科技碩士學位學程 111ZM1004
資料來源:	http://thesis.lib.nccu.edu.tw/record/#G0111ZM1004
数据类型:	thesis
显示于类别:	[全球傳播與創新科技碩士學位學程] 學位論文

文件中的档案:

档案	描述	大小	格式	浏览次数
100401.pdf		666Kb	Adobe PDF	0	检视/开启

在政大典藏中所有的数据项都受到原著作权保护.

社群 sharing

著作權政策宣告 Copyright Announcement

1.本網站之數位內容為國立政治大學所收錄之機構典藏，無償提供學術研究與公眾教育等公益性使用，惟仍請適度，合理使用本網站之內容，以尊重著作權人之權益。商業上之利用，則請先取得著作權人之授權。
The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

2.本網站之製作，已盡力防止侵害著作權人之權益，如仍發現本網站之數位內容有侵害著作權人權益情事者，請權利人通知本網站維護人員(nccur@nccu.edu.tw)，維護人員將立即採取移除該數位著作等補救措施。
NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.

DSpace Software Copyright © 2002-2004 MIT & Hewlett-Packard / Enhanced by NTU Library IR team Copyright © - 回馈