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      A Study on the Preference and Development of Online Concerts between Creators and Viewer Audiences

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      https://www.riss.kr/link?id=A108211269

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      다국어 초록 (Multilingual Abstract)

      This study began with question of whether online concerts are still interested in creators and viewer audiences in post COVID-19 era. This is also important to ensure the industrial direction and sustainability of online concerts, which are expected to be conducted as immersive virtual concerts by utilizing various new technologies of 4th Industrial Revolution. Therefore, this study started with investigated the comparison of preference between creators and viewer audiences. In terms of creators were divided into industrial field working groups such as executive production, production, promotion, distribution and artists/songwriters. Viewer audiences were also divided into music-related and educated viewers and general audience. For the results of futures wheel technique which is fit well with qualitative research, this study was conducted with in-depth interviews by 20 people, 2 times combined groups' FGI and a survey by 80 people. The result showed that the viewers group preferred online concerts to the creators group, which seems to be due to accessibility and cheaper price than offline concerts. Viewer audiences in this study mainly commented on quality and price. And creators mainly mentioned changes in production systems and distribution platforms. In particular, complaints have been raised on both sides that new technologies have not yet been completed or commercialized rather than threats to new technologies. Regarding the development plan for this, opinions on immersive technology development, rendering and differentiated planning and directing for only online concerts were expressed. The implication of the results of this study is that the pop music concerts, which have a structure that is very vulnerable to external environmental factors such as COVID-19, should need to develop technology with accurate demand from creators and viewer audiences. In addition, institutional mechanisms for various predictable disputes should be prepared.
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      This study began with question of whether online concerts are still interested in creators and viewer audiences in post COVID-19 era. This is also important to ensure the industrial direction and sustainability of online concerts, which are expected t...

      This study began with question of whether online concerts are still interested in creators and viewer audiences in post COVID-19 era. This is also important to ensure the industrial direction and sustainability of online concerts, which are expected to be conducted as immersive virtual concerts by utilizing various new technologies of 4th Industrial Revolution. Therefore, this study started with investigated the comparison of preference between creators and viewer audiences. In terms of creators were divided into industrial field working groups such as executive production, production, promotion, distribution and artists/songwriters. Viewer audiences were also divided into music-related and educated viewers and general audience. For the results of futures wheel technique which is fit well with qualitative research, this study was conducted with in-depth interviews by 20 people, 2 times combined groups' FGI and a survey by 80 people. The result showed that the viewers group preferred online concerts to the creators group, which seems to be due to accessibility and cheaper price than offline concerts. Viewer audiences in this study mainly commented on quality and price. And creators mainly mentioned changes in production systems and distribution platforms. In particular, complaints have been raised on both sides that new technologies have not yet been completed or commercialized rather than threats to new technologies. Regarding the development plan for this, opinions on immersive technology development, rendering and differentiated planning and directing for only online concerts were expressed. The implication of the results of this study is that the pop music concerts, which have a structure that is very vulnerable to external environmental factors such as COVID-19, should need to develop technology with accurate demand from creators and viewer audiences. In addition, institutional mechanisms for various predictable disputes should be prepared.

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      공동연구자 (7)

      유사연구자 (20) 활용도상위20명

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      학술지 이력

      학술지 이력
      연월일 이력구분 이력상세 등재구분
      2022 평가예정 재인증평가 신청대상 (재인증)
      2019-01-01 평가 등재학술지 유지 (계속평가) KCI등재
      2016-01-01 평가 등재학술지 선정 (계속평가) KCI등재
      2015-01-01 평가 등재후보학술지 유지 (계속평가) KCI등재후보
      2013-01-01 평가 등재후보학술지 유지 (기타) KCI등재후보
      2012-01-01 평가 등재후보 1차 PASS (등재후보1차) KCI등재후보
      2010-01-01 평가 등재후보학술지 선정 (신규평가) KCI등재후보
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      학술지 인용정보

      학술지 인용정보
      기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
      2016 0.79 0.79 0.72
      KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
      0.7 0.67 0.781 0.27
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