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題名 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貢獻者 林日璇
Lin, Jih-Hsuan
何焴庭
Ho, Yu-Ting關鍵詞 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 上傳時間 4-九月-2024 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. 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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). 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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 資料類型 thesis dc.contributor.advisor 林日璇 zh_TW dc.contributor.advisor Lin, Jih-Hsuan en_US dc.contributor.author (作者) 何焴庭 zh_TW dc.contributor.author (作者) Ho, Yu-Ting en_US dc.creator (作者) 何焴庭 zh_TW dc.creator (作者) Ho, Yu-Ting en_US dc.date (日期) 2024 en_US dc.date.accessioned 4-九月-2024 16:08:38 (UTC+8) - dc.date.available 4-九月-2024 16:08:38 (UTC+8) - dc.date.issued (上傳時間) 4-九月-2024 16:08:38 (UTC+8) - dc.identifier (其他 識別碼) G0111ZM1030 en_US dc.identifier.uri (URI) https://nccur.lib.nccu.edu.tw/handle/140.119/153571 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 全球傳播與創新科技碩士學位學程 zh_TW dc.description (描述) 111ZM1030 zh_TW dc.description.abstract (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。 zh_TW dc.description.abstract (摘要) 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. en_US dc.description.tableofcontents INTRODUCTION 1.1 RESEARCH BACKGROUND 1 1.1.1 The pop music industry in Taiwan 1 1.1.2 Research motivation and purpose 2 LITERATURE REVIEW 2.1 THE IMPACT OF VIRTUAL REALITY TECHNOLOGY ON THE POP MUSIC INDUSTRY 4 2.1.1 Definition of the Pop Music Industry 4 2.1.2 Definition of Concert 5 2.1.3 The Viewing Modes of Concerts 5 2.1.3.1 Offline Physical Concert 5 2.1.3.2 Cable Television Concert 5 2.1.3.3 DVD Concert 6 2.1.3.4 Streaming Concert 7 2.1.3.5 VR Concert 8 2.2 CONSUMER BEHAVIOR AND PERCEPTIONS 9 2.2.1 Consumer Participation 9 2.2.2 Fan Economy 9 2.2.3 Consumer Satisfaction 10 CASE STUDY 3.1 ARTIST IN TAIWAN 12 3.1.1 HyperLIVE 2020 13 3.1.1.1 Bii 14 3.1.1.2 Julia、Kimberley、Ching G Squad 15 3.1.1.3 WeiBird 16 3.1.2 LaLa Hsu 17 3.2 ARTIST IN SOUTH KOREA 18 3.2.1 (G)I-DLE 19 3.2.2 aespa 20 3.2.3 BLACKPINK 21 3.3 ARTIST IN THE UNITED STATES 22 3.3.1 Ariana Grande 23 3.3.2 Travis Scott 25 3.3.3 Doja Cat 26 METHODOLOGY 4.1 RESEARCH DESIGN 28 4.1.1 Selection of Case Studies and Justification 28 4.1.1.1 Taiwan 28 4.1.1.2 South Korea 28 4.1.1.3 The United States 29 4.1.1.4 Exclusions: Japan and the United Kingdom 29 4.2 PARTICIPANTS 30 4.2.1 Group 1: Fans with a regular attendance at live music events 30 4.2.2 Group 2: VR Content Producers 31 4.3 RESEARCH QUESTIONS 31 4.4 DATA COLLECTION 31 4.4.1 Interview Format 32 4.4.2 Interview Equipment 32 4.4.3 Interview Question Design 32 4.3.3.1 Fans with a regular attendance at live music events 32 4.3.3.2 VR Content Producers 34 4.4.4 Rationale for Video Selection 35 4.4.5 Justification for Video Selection 35 4.5 DATA ANALYSIS 36 4.6 ANALYSIS PROCESS 36 4.6.1 Line-by-line Coding 36 4.6.2 Induct Themes 36 4.6.3 Interpret Research Findings 36 RESULTS 5.1 FANS WITH A REGULAR ATTENDANCE AT LIVE MUSIC EVENTS 37 5.2 VR CONTENT PRODUCERS 42 DISCUSSION AND CONCLUSION 6.1 PRACTICAL CONTRIBUTIONS 47 6.1.1 Comparison of VR Concerts and Traditional Concerts 47 6.1.2 Audience Perspectives 47 6.1.3 Industry Perspectives 48 6.2 SUMMARY OF FINDINGS 50 6.2.1 Consumer Participation 50 6.2.2 Fan Economy 50 6.2.3 Consumer Satisfaction 51 6.2.4 Crowd Interaction 51 6.2.5 Future Potential of VR Concerts 52 6.3 RESEARCH LIMITATIONS 52 6.3.1 Development Stage of VR Technology 52 6.3.2 Influence of industry perspectives 53 6.3.3 Limitations of Existing Literature 53 6.3.4 Confidentiality Agreements 53 6.3.5 Interview Process Impact 53 6.3.6 Content Accessibility Issues 54 6.4 IMPLICATIONS FOR PRACTICE AND FUTURE RESEARCH 54 6.4.1 Enhancing Consumer Adoption 54 6.4.2 Developing New Business Models 54 6.4.3 Enhancing the Emotional Impact of VR Concerts 55 6.4.4 Exploring New VR Content Formats 55 6.5 CONCLUSION 55 REFERENCES 56 APPENDIX – INTERVIEWEE A 64 APPENDIX – INTERVIEWEE B 76 APPENDIX – INTERVIEWEE C 88 APPENDIX – INTERVIEWEE D 104 Case Study of "The Man Who Couldn't Leave" 107 APPENDIX – INTERVIEWEE E 121 zh_TW dc.format.extent 11140250 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0111ZM1030 en_US dc.subject (關鍵詞) 虛擬實境 zh_TW dc.subject (關鍵詞) 流行音樂產業 zh_TW dc.subject (關鍵詞) 線下演唱會 zh_TW dc.subject (關鍵詞) 虛擬實境演唱會 zh_TW dc.subject (關鍵詞) 消費者參與 zh_TW dc.subject (關鍵詞) 觀賞體驗 zh_TW dc.subject (關鍵詞) 粉絲經濟 zh_TW dc.subject (關鍵詞) 消費者滿意度 zh_TW dc.subject (關鍵詞) 質性研究 zh_TW dc.subject (關鍵詞) Virtual Reality en_US dc.subject (關鍵詞) Pop Music Industry en_US dc.subject (關鍵詞) Live Concert en_US dc.subject (關鍵詞) Virtual Reality Concert en_US dc.subject (關鍵詞) Consumer Participation en_US dc.subject (關鍵詞) Viewing Experience en_US dc.subject (關鍵詞) Fan Economy en_US dc.subject (關鍵詞) Consumer Satisfaction en_US dc.subject (關鍵詞) Qualitative Research en_US dc.title (題名) 如何使用虛擬實境創造消費者在當代演唱會的觀賞體驗 zh_TW dc.title (題名) How to Use Virtual Reality to Create Consumers' Viewing Experience in Contemporary Concerts en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) English References Baker, D. 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