• Information Systems Review
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• v.25 no.2
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• pp.77-101
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• 2023

Due to COVID-19, paid virtual live-stream concerts have emerged as an alternative format and a new revenue model for in-person live concerts. Despite the increasing scholarly and practical interest in how participants experience paid virtual live-stream concerts, few studies examined participants' consumption and participation experiences. Thus, this study aims to provide insights into consumers' virtual live-stream concert experience by employing social representations theory (SRT). We explore the features of paid virtual live-stream concerts based on the C-P-N-D (Content-Platform-Network-Device) framework and the consumers' cognitive and affective perception. To this end, an SRT-based core-periphery analysis was conducted based on 239 responses to the open-ended survey questions. The results show that network-and device-level features of virtual live concerts and participants' overall perception are presented as core elements of paid virtual live-stream concerts, whereas content- and platform-level features are peripheral elements. This finding provides an in-depth understanding of the emergence of paid virtual live-stream concerts as an alternative concert format, thereby providing an invaluable understanding of a virtual live concert experience and theoretical and practical insights.

• Journal of Digital Convergence
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• v.19 no.1
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• pp.349-354
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• 2021

The purpose of the project is to study the factors affecting the new user experience and satisfaction as the concert market of K-POP is moved to the online stage by the Corona 19. The study conducted a survey and in-depth interviews with men and women in their 20s and 30s who participated in the K-POP online concert, consisting of proposed by Stephen P. Anderson. The study found that participants' propensity, concert composition, platform-supported technology, and quality factors affect user experience satisfaction. It was also noticed that while the grafting of new technology did not have a significant effect on the part of Pleasurable, the satisfaction level was significantly reduced if the quality was poor. Hopefully, this study becomes a reference to the future direction of online concert development.

• Journal of Korea Game Society
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• v.22 no.1
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• pp.43-54
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• 2022

COVID-19 provided visitors with new online concerts that gradually increased in many ways. The disadvantage of current online concerts is that cannot make full use of the interaction with others. We hope to provide online concert audiences with the same experience as offline. This study was conducted under the condition that the audience watched online concerts and movies individually or group. Experimental results confirm that watching online concerts collectively will increase the sense of immersion. It can be used as a design guide for the virtual public viewing environment in the future.

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.740-749
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• 2016

Hologram technology is widely applied in entertainment contents for public, no more remained in specific technological area for minority experts. Expecially, K-POP entertainment contents increasingly adopt hologram images. These contents use hologram technology as a part to arouse spectacles or represent idols as hologram characters. In this study, spectacles and aura of K-POP hologram concerts of SM Entertainment which runs stably in certain period were analyzed, so that it could recognized the differentiation strategy distinguished only in hologram concerts. Thus, the setting of hologram concerts alienates seats from the stage so that maximize distance, and the aura of idol characters strengthens through fantasy of escape from reality. Hologram concerts maximize fantasy through exposing tricks rather than concealing it. Hologram concerts enhance image of Korea as ICT leader, overcome physical and geological limitation of 'Korean Wave' to globalize, and propose examples of popularization of convergence contents.

• The Journal of the Acoustical Society of Korea
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• v.24 no.2
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• pp.111-116
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• 2005

This study deals with a subjective assessment to investigate the preferred acoustic conditions and determine the important acoustical parameters in concert halls. A subjective test was carried out using dummy head recorded sounds made in actual halls in Australia (referred to as Hall A and Hall B) to evaluate the acoustic performance of two halls. The results of subjective tests were then correlated with measured acoustical parameters to investigate the significant determinants for the preference judgements. The listeners show a stronger Preference for seats in the Hall B than those in the Hall A. The low preferences for seats in the Hall A are in agreement with live performance ratings assessed by musicians. It is found that the sound level is the most significant acoustical parameter for evaluating the overall acoustic preference in the two halls.

• 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.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.138-145
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• 2012

, Korea's popular television comedy program cast the strategy of making fun by word game interweaving meaning and nonmeaning and started to making fun by narrative game. So called Digital Narrative strategy seems to reflect the changes of social trends. Getting verisimilitude by detail description, parody realism, hierarchy of word body naked, anxiety for influence or star cameo seems to be principal strategy. With a minute realism strategy, new method of making meaning appropriate to digital era seems to appear.

• Journal of Digital Convergence
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• v.19 no.11
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• pp.315-325
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• 2021

This study conducted a questionnaire survey on 280 people who had experience of using mobile augmented reality-based online concerts. Using the SPSS 21.0 and AMOS 21.0 programs, the factors affecting the intention to reuse were investigated through statistical analysis(correlation analysis, path analysis, etc.). The main results are as follows. First of all, Presence and interactivity had a positive effect on flow, perceived ease of use and perceived usefulness. Flow had a positive effect on perceived ease of use and perceived usefulness. Perceived ease of use had a positive effect on perceived usefulness, and perceived usefulness had a direct positive effect on intention to reuse whereas perceived ease of use had an indirect effect on intention to reuse through perceived usefulness. In order to increase the intention to reuse of the mobile augmented reality-based online concert, it is necessary to prepare a plan to increase the level of presence, interactivity, and flow experienced by users. This study identified factors that affect the intention to reuse online concerts based on mobile augmented reality in an untact society. Therefore, it will be meaningful in that it presents the implications necessary to prepare a plan that can be efficiently accepted by consumers for the rapidly growing mobile augmented reality-based online concert.

• The Korean Publising Journal, Monthly
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• s.371
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• pp.60-61
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• 2006

• The Journal of the Korea Contents Association
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• v.12 no.8
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• pp.399-410
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• 2012

This study is to investigate the expenditure patterns that was generated by visitors who attended The Korean Music Wave Festival and analyze economic impact derived from that event. The target is the foreign visitors who attended '2011 Incheon Korean Music Wave'. Total of 407 questionnaires were collected. The collected data were analyzed to produce spending patterns using Tobit models. Also, tourism multipliers were employed to identify the economic impact. This results show that expenditure determinants such as demographic variables and satisfaction as independent variables are significant in estimating visitors' expenditures. Also, In addition economic impact derived from direct spending was substantially over committed cost. Accordingly, this result can contribute to providing basic information for marketing strategy that generates the economic effect on the destination. Moreover, the result can be utilized when establishing the strategy that can maximize the economic impact based on the spending patterns.