政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/153571

政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/153571

English | 正體中文 | 简体中文 | Post-Print筆數 : 27 | 全文笔数/总笔数 : 113656/144643 (79%)
造访人次 : 51715868 在线人数 : 565

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 140.119/153571

请使用永久网址来引用或连结此文件: https://nccur.lib.nccu.edu.tw/handle/140.119/153571

题名:	如何使用虛擬實境創造消費者在當代演唱會的觀賞體驗 How to Use Virtual Reality to Create Consumers' Viewing Experience in Contemporary Concerts
作者:	何焴庭 Ho, Yu-Ting
贡献者:	林日璇 Lin, Jih-Hsuan 何焴庭 Ho, Yu-Ting
关键词:	虛擬實境流行音樂產業線下演唱會虛擬實境演唱會消費者參與觀賞體驗粉絲經濟消費者滿意度質性研究 Virtual Reality Pop Music Industry Live Concert Virtual Reality Concert Consumer Participation Viewing Experience Fan Economy Consumer Satisfaction Qualitative Research
日期:	2024
上传时间:	2024-09-04 16:08:38 (UTC+8)
摘要:	隨著科技進步和社群媒體的興起，虛擬實境（VR）技術在娛樂產業中扮演著日益重要的角色。自2019年底新冠疫情爆發以來，音樂產業的演出形式逐漸轉向線上和數位化，而VR演唱會因其沉浸式體驗和跨越時空的特性，獲得了廣泛關注。本研究旨在探討VR技術在當代演唱會中的應用及其對觀眾觀賞體驗的影響。研究採用半結構式深度訪談和反思性主題分析法，探討具現場音樂活動參與習慣的粉絲群體及VR內容製作人員的觀點。研究結果顯示，受訪者普遍認為目前的VR技術與設備在穩定性和互動性方面仍有很大的改進空間。他們期望未來的VR演唱會能夠在藝人和粉絲雙方的外貌、表情、動作呈現，以及舞台設計、燈光和音效上，更真實地模擬演唱會場景，並透過增加互動性元素和個性化服務，如在虛擬環境中實現觀眾與藝人間的眼神交流和互動活動，來提升沈浸感及參與感。研究提出了多項改善VR演唱會體驗的策略，如減輕VR頭盔重量、提升內容製作品質及增強互動體驗，以提高觀眾的沉浸感與參與度，賦予觀眾更接近現實的虛擬空間。本研究總結了VR技術在當代演唱會中的應用價值，並提出未來的發展方向和改進建議，為業界與學術界提供參考。透過最佳化VR技術應用，未來的VR演唱會將能夠提供更具沉浸感、互動性和個性化的觀賞體驗，進一步滿足消費者的需求和期望。 With the advancement of technology and the rise of social media, virtual reality (VR) technology is playing an increasingly important role in the entertainment industry. Since the outbreak of the COVID-19 pandemic at the end of 2019, the format of music performances has gradually shifted towards online and digitization, and VR concerts have gained widespread attention due to their immersive experience and ability to transcend time and space. This study aims to explore the application of VR technology in contemporary concerts and its impact on audience viewing experiences. The research adopts a semi-structured in-depth interview and reflexive thematic analysis method to examine the perspectives of fans with a regular attendance at live music events and VR content producers. The results of the study show that respondents generally believe that there is still significant room for improvement in the stability and interactivity of current VR technology and devices. They expect future VR concerts to more realistically simulate concert scenes in terms of the appearance, expressions, movements of both artists and fans, as well as stage design, lighting, and sound effects. Additionally, they suggest enhancing immersion and engagement by adding interactive elements and personalized services, such as enabling eye contact and interactive activities between the audience and artists in the virtual environment. The study proposes multiple strategies to improve the VR concert experience, such as reducing the weight of VR headsets, enhancing content production quality, and improving interactive experiences, to increase audience immersion and participation and provide a virtual space closer to reality. This research summarizes the application value of VR technology in contemporary concerts, and proposes future directions and improvement suggestions, providing references for both the industry and academia. Through the optimization of VR technology application, future VR concerts will be able to provide a more immersive, interactive, and personalized viewing experience, further meeting consumers' needs and expectations.
參考文獻:	English References Baker, D. A., & Crompton, J. L. (2000). Quality, satisfaction and behavioral intentions. Annals of Tourism Research, 27(3), 785–804. https://doi.org/10.1016/s0160-7383(99)00108-5 Bennett, M. Y. (2017). Analytic philosophy and the world of the play. https://doi.org/10.4324/9781315294735 Brown, S. C., & Knox, D. (2016). Why go to pop concerts? The motivations behind live music attendance. Musicae Scientiae, 21(3), 233–249. https://doi.org/10.1177/1029864916650719 Bureau of Audiovisual and Music Industry Development, Ministry of Culture. (2013). Overview of the current development status of Taiwan's pop music industry.  https://www.bamid.gov.tw/information_246_64718.html Bureau of Audiovisual and Music Industry Development, Ministry of Culture. (2013). 2018 Pop Music Industry Survey Report.  https://www.bamid.gov.tw/downloadfile?fid=60052 Chang, C.-H. (2012). Ayumi Hamasaki- An unusual idol: Exploring the identity and consumption of Japanese pop music fans (Master's thesis, Fu Jen Catholic University). Fu Jen Catholic University. Churchill, G. A., Jr., & Surprenant, C. (1982). An investigation into the determinants of consumer satisfaction. Journal of Marketing Research, 19(4), 491-504. https://doi.org/10.2307/3151722 Claycomb, C., Lengnick-Hall, C. A., & Inks, L. W. (2001). The customer as a productive resource: A pilot study and strategic implications. Journal of Business Strategies, 18(1), 47-68. https://doi.org/10.54155/jbs.18.1.47-70 Engel, J. F., Blackwell, R. D., & Miniard, P. W. (1993). Consumer behavior (8th ed.). Dryden Press. Ennew, C. T., & Binks, M. R. (1996). The Impact of Service Quality and Service Characteristics on Customer Retention: Small Businesses and their Banks in the UK1. British Journal of Management, 7(3), 219–230. https://doi.org/10.1111/j.1467-8551.1996.tb00116.x Ennew, C. T., & Binks, M. R. (1999). Impact of participative service relationships on quality, satisfaction and retention. Journal of Business Research, 46(2), 121–132. https://doi.org/10.1016/s0148-2963(98)00016-2 Frith, S. (1987). The industrialization of popular music. In J. Lull (Ed.), Popular music and communication (pp. 53-79). Sage Publications. 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/ Hunt, H. K. (1977). CS/D-Overview and future research directions. In K. Hunt (Ed.), Conceptualization and measurement of consumer satisfaction and dissatisfaction (pp. 455-488). Cambridge, MA: Marketing Science Institute. Kellogg, D. L., Youngdahl, W. E., & Bowen, D. E. (1997). On the relationship between customer participation and satisfaction: Two frameworks. International Journal of Service Industry Management, 8(3), 206-219. https://doi.org/10.1108/09564239710185406 Kotler, P. (1997). Marketing management: Analysis, planning, implementation, and control (9th ed.). Upper Saddle River, NJ: Prentice Hall Lengnick-Hall, C. A. (1996). Customer Contributions to Quality: A Different View of the Customer-Oriented Firm. The Academy of Management Review, 21(3), 791–824. https://doi.org/10.2307/259002 Lin, T. J., Lee, Y., Yang, J., & Cook, C. (2024). Helping others and improving myself: The effects of natural- and supernatural-based awe in virtual reality. Computers in Human Behavior, 108193. https://doi.org/10.1016/j.chb.2024.108193 Lovelock, C. H. (1996). Service marketing. Englewood Cliffs, NJ: Prentice-Hall. Lovelock, C. H., & Wirtz, J. (2010). Services marketing: People, technology, strategy (7th ed.). Pearson Education Millán, Á., & Esteban, Á. (2004). Development of a multiple-item scale for measuring consumer satisfaction in travel agency services. Tourism Management, 25(5), 533-546. https://doi.org/10.1016/j.tourman.2003.07.002 Oliver, R. L. (1980). A cognitive model of the antecedents and consequences of satisfaction decisions. Journal of Marketing Research, 17(4), 460-469. https://doi.org/10.2307/3150499 Schmitt, B.H. (1999) Experiential Marketing. How to Get Customers to Sense, Feel, Think, Act, Relate to Your Company and Brands. The Free Press, New York. Wu, C.-C., & Chang, C.-Y. (2020). Applying a thematic analysis in educational research. The Development of Special Education, 69, 29-42. https://doi.org/10.7034/DSE.202006_(69).0003 Young, J., Thompson, S. C., Downer, H., Allen, B. L., Pantidi, N., Stoecklein, L., & Rhee, T. (2022). TeleFest: Augmented virtual teleportation for live concerts. In ACM International Conference on Interactive Media Experiences. https://doi.org/10.1145/3505284.3529968 Chinese References Hua, J. (2003). Culture + Creativity = Wealth. Taipei: Imperial Culture.  [花建（2003）。《文化+創意=財富》。台北：帝國文化出版社。] Li, J.-W. (2015). The social and economic evaluation of idol and stardom in music (Master's thesis, National Kaohsiung University of Science and Technology).  [李佳雯（2015）。音樂偶像明星的社會經濟評價（碩士論文，國立高雄應用科技大學財富與稅務管理系碩士在職專班）] Li, T.-D. (1998). Political economy analysis of transnational media and Mandarin popular music. Con-Temporary Monthly, 125, 54-71.  [李天鐸（1998）。跨國傳播媒體與華語流行音樂的政治經濟分析，《當代》，125，54-71] Lin, X.-Z. (2015). A brief analysis of the development of fan economy. Times Finance, 2015(3).  [林小楨（2015）。淺析粉絲經濟的發展，《時代金融》，2015(3)] Wu, C.-C., & Zhang, Q.-Y. (2020). Applying a thematic analysis in educational research. Journal of Special Education Development, 69, 29-42. https://doi.org/10.7034/DSE.202006_(69).0003  [吳啟誠、張瓊云（2020）。主題分析在教育研究上的應用，《特殊教育發展期刊》，69，29-42] Zhang, J.-X. (2006). Analysis of the impact of customer participation on relationship marketing (Master's thesis, Chinese Culture University, Graduate Institute of International Trade).  [張嘉軒（2006）。顧客參與對關係行銷之影響分析（碩士論文，中國文化大學國際貿易研究所）] Zhang, Q. (2010). The power of fans. China: Renmin University of China Press.  [張嬙（2010）。粉絲力量大，中國：中國人民大學出版社。] Zhang, W.-T. (2003). The impact of consumer participation on consumer complaint behavior (Master's thesis, Chinese Culture University).  [張文婷（2003）。消費者參與對消費者抱怨行為之影響（碩士論文，私立中國文化大學）] Website References aespa. (2023, October 15). 🔥 aespa in VR 🔥 \| LYNK-POP: THE 1st VR CONCERT aespa [Video]. YouTube. https://www.youtube.com/watch?v=r6EGkiR2l1k Alec. (2023, December 24). BLACKPINK to host VR encore concert. Allkpop. https://www.allkpop.com/article/2023/12/blackpink-to-host-vr-encore-concert AmazeVR. (2023, September 20). AmazeVR and SM Entertainment announce aespa’s first-ever VR concert theater experience in South Korea. CISION PRWeb. https://www.prweb.com/releases/amazevr-and-sm-entertainment-announce-aespas-first-ever-vr-concert-theater-experience-in-south-korea-301934140.html BBC News. (2021, August 16). Is virtual reality the future of live music? [Video]. YouTube. https://www.youtube.com/watch?v=9Yiq2SfFPls BEATDAY. (2022). LaLa Hsu's "GEI" Metaverse Concert for Music Players [徐佳瑩《給》音樂玩家元宇宙演唱會]. https://beatday.com/lalahsu/ Belle. (2023, December). BLACKPINK releases trailer for ‘A VR Encore’ virtual concert. K-POP LIFE. https://kpoplife.com/blackpink-trailer-vr-encore-virtual-concert/ BLACKPINK. (2023, December 19). BLACKPINK: A VR Encore – Official Trailer [Video]. YouTube. https://www.youtube.com/watch?v=qfTIbCXH68A Britannica, T. Editors of Encyclopaedia. (2024, March 23). Concert. Encyclopedia Britannica. https://www.britannica.com/art/concert Dong, S. H. (2023, September 21). Aespa's VR concert to hit theaters Oct. 25. Koreatimes. https://www.koreatimes.co.kr/www/art/2024/05/398_359698.html Epic Games. (n.d.). Ariana Grande steps into the metaverse as the headliner for Fortnite's Rift Tour. Epic Games. https://www.epicgames.com/site/en-US/news/ariana-grande-steps-into-the-metaverse-as-the-headliner-for-fortnites-rift-tour Fortnite. (2021, August 7). Rift Tour featuring Ariana Grande (Full Event Video) [Video]. YouTube. https://www.youtube.com/watch?v=gGYElBtjytU Heavy Rotation. (2023, December 22). Doja Cat announces tour with Ice Spice, Doechii, including stop in Houston. Heavy Rotation. https://heavyrotationmagz.com/news/ HyperLIVE 2020 \| Behind the Scenes of the " Listen To Me" Online Concert [「聽我的」線上音樂會幕後花絮] (2020, October 16). https://www.facebook.com/KKBOXTW/videos/362743724846704 Iahn, B. (2023, September 20). aespa announces first-ever South Korean VR concert theater experience. The Music Universe. https://themusicuniverse.com/aespa-announces-first-ever-south-korean-vr-concert-theater-experience/ IFPI Releases 2023 Music Listening Report: Global Revenue Grows by 10% [IFPI發布2023音樂聆聽報告,全球產值成長一成]. (n.d.).  https://research.taicca.tw/article/23f30d6b-b3c4-4224-aa83-b7e423c5f39e International Data Corporation. (2022, December 11). IDC press release: Sustained prosperity, ranked first in the world—China's AR/VR market spending to grow at a compound annual growth rate of nearly 42.2% over the next five years [持續繁榮，位列全球首位——未來五年中國AR/VR市場支出復合增長率近42.2%]. IDC. https://www.idc.com/getdoc.jsp?containerId=prCHC49956922 Jack [伟叔Jack]. (2023, December 27). After watching Blackpink's VR concert, I’m more excited for Apple's Vision Pro! [看完Blackpink VR演唱会后，我更期待苹果Vision Pro了!] [Video]. YouTube.  https://www.youtube.com/watch?v=6QNY-4zL2i0 Japan株式会社 P. T. (2022, December 28). PICO announces (G)I-DLE's VR concert "For NEVERLAND" [PICO、(G)I-DLEのVRコンサート「For NEVERLAND」を配信決定]. PR TIMES. https://prtimes.jp/main/html/rd/p/000000010.000108046.html KKBOX. (2020, July 24). Bii's 10th Anniversary VR Concert "HyperLIVE 2020: Bii Alive" [Bii 畢書盡十週年壓軸場首玩VR 《HyperLIVE 2020: Bii Alive》打頭陣]. KKBOX. https://www.kkbox.com/about/tw/zh-tw/news/detail/2954 KKBOX. (2020, August 22). KKBOX and Chunghwa Telecom 5G second wave: Julia, Kimberley, Ching G Squad make a grand appearance [KKBOX攜手中華電信5G第2彈 Julia、Kimberley、Ching G Squad 霸氣登場]. KKBOX. https://www.kkbox.com/about/tw/zh-tw/news/detail/2959 KKBOX. (2020, October 29). "HyperLIVE 2020" final episode Weibird's Listen To Me! [韋禮安壓軸《HyperLIVE 2020》最終場聽我的!]. KKBOX. https://www.kkbox.com/about/tw/zh-tw/news/detail/2962 K-POPdays. (2022, December 28). (G)I-DLE's VR concert "For NEVERLAND" will be broadcast on PICO on December 31 [(G)I-DLE的VR演唱會「For NEVERLAND」將於12月31日在PICO播出]. https://www.kpopdays.com/?p=59462 LALA HSU “GEI” MUSIC PLAYERS METAVERSE CONCERT \| Concert Trailer [徐佳瑩《給》音樂玩家元宇宙演唱會 \| 演唱會片花] (2022, October 27). https://www.facebook.com/beatday.music/videos/523590522915565 Metamandrill. (n.d.). VR concerts; Virtual reality concert apps & examples. https://metamandrill.com/vr-concerts/#famous-examples-of-vr-concerts National Human Rights Museum[國家人權博物館]. (2022, October 13). 79th Venice Film Festival Best VR Experience Award \| Singing CHEN’s "The Man Who Couldn’t Leave" [第79屆威尼斯影展最佳VR體驗獎 \| 陳芯宜《無法離開的人》] [Video]. YouTube. https://www.youtube.com/watch?v=O4_i1mgcwRU PICO XR Korea. (2023, January 3). [PICO x G-IDLE]VR콘서트, for NEVERLAND 즐기는 법 [Video]. YouTube. https://www.youtube.com/watch?v=AeaQJRq-cNg Profile, V. (2022, December 21). PICO exclusively releases (G)I-DLE’s first VR concert “For NEVERLAND.” https://mykoreakr.blogspot.com/2022/12/pico-exclusively-releases-gi-dles-first.html Schube, W. (2023, December 21). ‘BLACKPINK: A VR Encore’ set to premiere on December 26. uDiscover Music. https://www.udiscovermusic.com/news/blackpink-a-vr-encore-premiere/ Taiwan Electrical and Electronic Manufacturers’ Association. (n.d.).  https://www.teema.org.tw/englishnew/sr20220201.html Taiwan Electrical and Electronic Manufacturers’ Association. (n.d.). Taiwan Electrical and Electronic Manufacturers’ Association. https://www.teema.org.tw/industry-information-detail.aspx?infoid=38388 Taiwan’s VR films rank among the best in the world - Taiwan Creative Content Agency (TAICCA). (n.d.). https://taicca.tw/article/cf36b34f Tang, Z. Q. (2020, July 27). Exclusive: Taiwan's first 5G VR paid concert revealed! Bii's 60-minute "virtual performance" experience [【獨家】全台灣第一場5G VR付費演唱會揭秘！畢書盡60分鐘「虛擬演出」體驗如何？]. Business Next. https://www.bnext.com.tw/article/58608/5g-vr-virtual-concert-live-online-kkbox-cht-bii The Artful Brand. (n.d.). Travis Scott, Fortnite and the future of VR entertainment. https://artfulbrand.com/insights/travis-scott-astronomical The Face. (2021, August 9). Inside Ariana Grande’s Fortnite virtual concert. The Face. https://theface.com/music/ariana-grande-fortnite-rift-tour-performance-gaming-vr-mac-miller-travis-scott-lil-nas-x TheWrap. (2020, April 24). Travis Scott’s Fortnite concert attracts record 12 million viewers. TheWrap. https://www.thewrap.com/travis-scotts-fortnite-concert-attracts-record-12-million-viewers/ Ticket Fairy. (2020, June 10). Travis Scott’s ‘Astronomical’ and the future of virtual reality. Ticket Fairy. https://www.ticketfairy.com/word/2020/06/10/travis-scotts-astronomical-and-the-future-of-virtual-reality/ Travis Scott. (2020, April 26). Travis Scott and Fortnite present: Astronomical (Full event video) [Video]. YouTube. https://www.youtube.com/watch?v=wYeFAlVC8qU TVBS NEWS. (2020, July 25). Like Floating in Space! Bii Holds His First VR Online Concert [宛如漂浮太空! 畢書盡首辦VR線上演唱會] [Video]. YouTube. https://www.youtube.com/watch?v=m3GaVrYZEIo VR aespa concert gives every fan a front-row experience. (2023, November 14). Korea JoongAng Daily. https://koreajoongangdaily.joins.com/news/2023-11-14/entertainment/kpop/VR-aespa-concert-gives-every-fan-a-frontrow-experience/1912856 VR Space. (2022, March 16). What is virtual reality? [Video]. YouTube. https://www.youtube.com/watch?v=Z_0iFPRYAbI Wikipedia. (2024, March 13). Rift Tour. Wikipedia. https://en.wikipedia.org/wiki/Rift_Tour
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 111ZM1030
資料來源:	http://thesis.lib.nccu.edu.tw/record/#G0111ZM1030
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
103001.pdf		10879Kb	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