• International Journal of Internet, Broadcasting and Communication
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• v.15 no.3
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• pp.88-93
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• 2023

In the era of continuous progress, concerts have emerged as a significant medium for music performance, providing audiences with both musical enjoyment and a means of relaxation. The study examines pivotal moments and milestones in concert history, highlighting the emergence of novel elements such as visual presentations, integration of multimedia, virtual reality experiences, and metaverse concerts. By scrutinizing the repercussions of these changes on the concert experience, the study sheds light on the transformative influence of technology on concert formats, audience engagement, and artistic expression. Moreover, it delves into the challenges and opportunities arising from technological advancements in the contemporary concert landscape. The insights gained from this research contribute to a comprehensive comprehension of the dynamic interplay between technology and concert forms, thereby laying the foundation for future scholarly discourse and advancements within the field.

• Review of Culture and Economy
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• v.17 no.2
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• pp.3-28
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• 2014

The characteristics of performing arts differ from those of utilitarian goods in terms of economics. Factors other than price need to be considered to understand the demand for performing arts. Audience surveys as well as econometric demand studies have confirmed that socio-economic factors such as age, income, employment, and education are major determinants of the demand for performing arts. This study focused on the attributes of concerts rather than consumer characteristics to determine the concerts audiences select in terms of transaction cost. Genre, price, internet search trends, and the purpose of performance as well as price are tested as determinants of demand by using the data set for a major concert hall in Seoul. Genre and the specific purpose of concerts influence the demand for concerts. Internet search trends of the performer are used as indicators of popularity and information exposure, which are positively correlated with demand. This result supports the hypothesis that larger audiences would attend concerts that require lower information search costs. To note, price has a positive effect on demand in the higher price range, which means that concerts at higher prices attract larger audiences, whereas normal goods have a negative slope in the demand curve. This result can be explained by the hypothesis that consumers use price as an indicator of the quality expected of a concert. Transaction cost for selecting classical concerts thus forms an inverse-U shape curve against ticket price. These results provide some explanation of why audiences of classical music choose to attend concerts at high ticket prices while offering evidence in favor of the hypothesis that performing arts are selected in a social context.

• International journal of advanced smart convergence
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• v.9 no.3
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• pp.78-84
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• 2020

Due to social distancing caused by COVID 19, music concerts have not been allowed at home and abroad, and it is not known when overseas concerts will be able to resume unless the pandemics calm down, even if they are available. Meanwhile, people consume much more content through online services such as Netflix and YouTube than before. Under these circumstances, the music industry expects the virtual livestreamed performance to restore sluggish live performances again and bring about a digital renaissance. It also leads to the issue of reestablishing a copyright system regarding a livestreamed performance and of preparing a new rate of royalty standards for the use of works in OTT. In addition, a multi-territorial licensing of r ights in musical works is necessary to resolve copyright issues efficiently by applying the same term s to all countries from where the audience comes. In this paper, I examine the legal nature and the decision of copyright fees of performances as an integral part of the music industry.

• Journal of Distribution Science
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• v.21 no.6
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• pp.13-20
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• 2023

Purpose: This research explores the development of music business distribution channels to attract potential customers based on the current and prior literature. As a result, the research will provide solutions for practitioners in the music distribution channel how they create effective channel in new industry phase which has experienced significant changes due to technological advancement and consumer behavior. Research design, data, and methodology: To obtain textual data in the literature storage, the author conducted content analysis. Even though there are numerous textual resources, selecting only high-quality text data that is only peer-reviewed journal articles and books consistently indicate a high degree of reliability and validity to keep the advantage form content analysis approach. Results: The present study figured out that there are five strategies to attract potential consumers in the music distribution channel, such as (1) 'Marketing Mix', (2) 'Streaming Platforms and Online Music Stores', (3) 'Brick and Mortar Stores and Concerts, and Events', (4) 'Platforms Exclusives and Limited-Edition Merchandise', and 'Partnerships and collaborations. Conclusions: In sum, the practitioners need to consider include building relationships with the fans, studying and understanding their target market, utilizing multiple available distribution channels, embracing new technologies, and analyzing the effectiveness of the adopted distribution channels.

• Journal of Korea Entertainment Industry Association
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• v.14 no.5
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• pp.27-35
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• 2020

In 2020, one after another, musicians started to hold non-contact online concerts as the pop music industry began to shrink due to the unprecedented "Covid-19" incident, in seeking for various channels and alternatives. Taking this into account, this study conducted a survey with BTS' "Bang Bang Con The Live" as the subject that was held June 2020 to see if they were qualified as an alternative format for quarantine-focused non-contact concerts. The survey was carried out with the content analysis of online concert videos participated by music experts and by collecting evaluations and alternative suggestions from the audiences. The study showed that the sample performance video well fulfilled the actual feels of offline concert elements (field visualization, face-to-face interaction, and responsive behavior), satisfaction, and convenience as an alternative concert format as an emergency correspondence. However, it was analyzed that there was a serious lack of empathy and realism with fans. Therefore, the study showed the possibility that BTS' "Bangbangcon The Live" will function as an alternative format for non-contact concerts, but suggests that measures such as supplementing digital communication systems and technology devices must be taken to be recognized as a level of settlement in the global music community as well as in Korea.

• Journal of Digital Contents Society
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• v.11 no.2
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• pp.235-242
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• 2010

Differently from instruments which synthesized sounds and tones in the past, voice synthesis engine for music production has reached to the level of creating music as if actual artists were singing. It uses the samples of human voices naturally connected to the different levels of phoneme within the frequency range. Voice synthesis engine is not simply limited to the music production but it is changing cultural paradigm through the second creations of new music type including character music concerts, media productions, albums, and mobile services. Currently, voice synthesis engine technology makes it possible that users input pitch, lyrics, and musical expression parameters through the score editor and they mix and connect voice samples brought from the database to sing. New music types derived from such a development of computer music has sparked a big impact culturally. Accordingly, this paper attempts to examine the specific case studies and the synthesis technologies for users to understand the voice synthesis engine more easily, and it will contribute to their variety of music production.

• Asia Marketing Journal
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• v.22 no.4
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• pp.63-78
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• 2021

In 2020, the unexpected pandemic scenario has led to a downfall of live concerts performances, after the government restriction for events and gatherings with a large number of people. The Korean-Pop (K-Pop) group BTS (Bangtan sonyeondan) also had their concert tour canceled in 2020. Therefore, the group came up with an innovative project to the music market, called "BangBangCon: The Live", a live streaming paid concert held by the group, on June 14^th, which achieved a Guinness World Record for most viewers during a paid music concert, in a live streaming format. It's important, then, to study this event, and initiate a debate about alternative ideas for marketing strategies with live streaming music performances. The method to accomplish this research was desk research, analysing all the communication delivered from BTS, studying the website and platform where the event "BangBangCon: The Live'' was held, and researching about the results the event has achieved. The results were the description of the event as a project, informing how many people have attended the event, and what were the marketing strategies that made it possible to become the highest audience to a paid live streaming concert, until the moment this article was published.

• The Journal of the Korea Contents Association
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• v.12 no.11
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• pp.166-173
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• 2012

Although there are highly artistic music pieces which have composed and presented every years at concerts in Korea nowadays the their copyrights are not claimed. In general, The reason for this is that the classical music are employed as educational and nonprofit purpose. Recently, the copyright claim is the trend for all kinds creations therefore one who produce creative works desire more the hearty and creative. However, in the field of classical music in Korea, the rate of copyright registration are low compared to popular music when this paper research the presents state of copyright registration through the Korea music copyrights association and Korea copyright commission. Therefore, people who in the field of classic music should be encouraged to manage their copyrights such the registration of copyrights actively.

• Korean Association of Arts Management
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• no.53
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• pp.179-206
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• 2020

The objective of this study is to derive key factors of commentaries in classical music concerts with commentaries and to measure the importance of each attribute, thereby presenting the characteristics of commentaries and commentators as well as suggestions to concert planners in terms of composition. In addition, by developing a scale that can measure classical commentary, a questionnaire is provided so that concert planners can plan programs that gathered the opinions of the audience. To this end, the first, second and third rounds of the Delphi survey and AHP were applied to concert planners, musicians (performing artists), and academic experts. A questionnaire was developed based on the results, and the survey was verified by conducting a pilot test with the general audience. The results of this study can be summarized as follows: First, the purpose of commentaries must be focused on arousing the audience's interest rather than on delivering information. Second, commentators must meet the auditory satisfaction of the audience with a good voice and clear pronunciation based on impeccable vocalization. Third, commentaries must be concise, with the commentaries appearing at least five times per concert, each of which must not exceed five minutes. Fourth, as a result of the pilot test, this study derived 14 items to rate commentary skills across four factors: four items for "arousing interest," three items for "delivering information," three items for "favorability," and four items for "expressiveness." Based on these results, the authors of study presented effective implications for concert planning.

• The Journal of the Acoustical Society of Korea
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• v.38 no.5
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• pp.558-567
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• 2019

When used for broadcasting, multipurpose halls need to accommodate various types of programs such as speeches, Korean traditional music, musicals, pop music, and concerts. Therefore, multipurpose halls must meet a wide range of electric and architectural acoustic demands. However, there are few ways to alter acoustic environments for multipurpose halls, given these different demands. The current study investigates the effects of banners on acoustic environments in the presence of an acoustic shell or electric acoustic system. The results indicate that the installation of a 15% banner of wall area could vary the range of reverberation time ($T_{30}$) by 0.12 s, EDT (Early Decay Time) by 0.15 s, clarity of music ($C_{80}$) by 0.76 dB, and clarity of speech ($D_{50}$) by 6.43 % under different measurement circumstances. A computer simulation that enlarges the banner size to 40 % of the wall area varies the reverberation time from 0.11 s to 0.55 s depending on the room environment.