• The Journal of the Korea Contents Association
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• v.18 no.9
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• pp.661-674
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• 2018

This paper studies how the audience perceives the types of classical performances in their performance choice, analyzes its effects on performance invigoration, and investigates how such an audience perception affects the marketing application of performance on the supply side. For this, based on data of performance programs delivered in five representative concert halls for last three years as well as the classification of previous literature, we classified performance types into five categories such as Authentic classic, Omnibus, Lecture, Crossover and Mixture type. And then, we surveyed the audience of classical music. From statistical analyses, we found first that the audience perceives the types of classical performances and utilizes their perception as an element in choosing performances. Second, the perception of classical performance types has significant effects on audience development and progress in circumstances of high audience acceptance and satisfaction. Finally, this result confirms that suppliers can employ this audience perception as a marketing strategy by setting target audience based on such perception.

• The Journal of the Korea Contents Association
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• v.20 no.1
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• pp.60-72
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• 2020

The recent surge in live streaming has also changed the market for classical performing arts. Now more than just recording live performances, content specific to live streaming platforms is being produced, and live streaming is emerging as a new alternative to promoting and enjoying classical performances. Therefore, this study empirically analyzed the effect of service quality factors of the classical live streaming performance on the viewer satisfaction and the purchase intention of the on-site performance over the data collected from 198 viewers. Results suggest that, among the service quality factors of the classic live streaming performance, video content, convenience, and price, except for real-time interaction, affected the viewer satisfaction, and viewer satisfaction in turn affected the purchase intention of the on-site performance. Thus the publicity effect of live streaming for classical performing arts seemed to be proved.

• Journal of the Korean Society for information Management
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• v.36 no.2
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• pp.223-254
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• 2019

The research on the archiving performing arts has recently been conducted on various aspects in Korea, but there has been no research or attempts to build a digital archive that can systematically identify the information on classical music performances in one place and get the past performance information. In this study, we proposed a participatory archive portal for providing, preserving and servicing information on all classical music performances, and tried to design the functions based on the requirements of the performance archive portal identified in previous research. We identified and proposed functional requirements of the portal, reorganized the characteristics of classical music performance information, and designed metadata elements. Then we presented the design and implementation direction of search and facet navigation, as well as user participation and communication functions. Lastly, we developed a prototype that implemented the requirements of the interface.

• Review of Culture and Economy
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• v.21 no.2
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• pp.111-139
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• 2018

This study is about classical music lovers who write a lengthy concert review on instagram. The intention and objective of writing a review is discussed in addition to inter-communication between those reviewers. For the analysis, an interview with 8 reviewers are mainly analyzed with their reviews. As a result, it is found that some affordances of Instagram, easiness, randomness, and friendliness affects them to use Instagram more than other social media. Hence, since Instagram is image-based platform, it helps writers to keep their reviews from getting an attention by other users. Because of their sense of inferiority that they are lacking in classical music knowledge, continuous writing and reading of reviews help them accumulating some amount of cultural capital needed for understanding classical music in a proper way.

• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.168-182
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• 2016

The domestic market for performances and concerts is rapidly growing. However, despite of the various efforts to attract audience, the market still struggles in securing consumers for classical music performances. In this context, the following thesis first explores the factors that determine the choice of performances through open-ended questions to categorize the types of consumers based on the results. Then, effects of different factors of choices for each type of consumer are studied to find out how these factors affect the consumers' purchasing decisions. As a result, 35 factors out of the 40 factors were ultimately confirmed as the factors that determine the consumers' choice for purchasing classical music performances. Then, the 35 factors were classified into seven categories. Moreover, an empirical analysis showed that personal factors, factors regarding contents of the performance, information factors, environmental factors and marketing factors had significant effects on the consumers' purchasing decisions. The degree of influence of the factors for each type of audience varied. This study conclusively seeks to contribute to developing a more thorough marketing strategies for performance arts institutions and performance venues.

• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.46-56
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• 2019

This study aimed to understand the value pursued when consuming performances for classical music performance audiences, to identify the difference in influence by type, and to expand into the base of academic research focusing on audiences who are consumers in classical music performances, which was the existing supplier-centered. Also, this study tried to verify the effect of consumption value on flow and satisfaction. and we aimed to prove whether consumption value leads to re-spectating intention through structural relationship. For this purpose, a survey was conducted on the audience who watched classical music performances within one year by applying consumption value theory, and the analysis was conducted using smartPLS 3.0. As a result, functional value and emotional value had an effect on flow. The second one is that functional value had a positive effect on satisfaction. The third fact is that social value had a negative effect. Overall, the structural relationship between flow, satisfaction, and re-spectating intention had a strong effect on each other. Implications of this study are that the market characteristics and current status of classical music performances were examined, and that an effective marketing strategy to increase the re-spectator rate was sought by finding out the factors of audience's consumption value that affect viewing satisfaction.

• 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.

• Korean Association of Arts Management
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• no.55
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• pp.39-73
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• 2020

The recent rapid increase in single-person households has had a significant impact on the art performance market as well as the overall consumption trend. With the proportion of one-person viewers in the form of viewing the performance nearly half, the new term "Hongongjok" is widely used. Representing the trends of 'one-person consumption' and 'consumption for me' is the concept of 'self-gift' that consumes special for myself. This study introduced the concept of self-gift as a framework for understanding a new group of performance viewers who lavishly investing in consumption for one's sake. It also demonstrated how self-gift motivation affects the perceived value and the intention of self-gift. As a result of the analysis, the motivation for reward, therapeutic personal disappointment, and therapeutic negative mood reduction of the self-gift had a significant effect on the intention of self-gift through the perceived value of classical music performances. In addition, it was also revealed through the multi-group analysis that there was a significant difference in the effect of self-gift motivation factors between a single viewer and two or more accompanying viewers. This study contributes to the fact that the art performance industry can be provided the first theoretical basis for understanding these customer groups in order to respond to the consumption trend for one-person viewers. It also offered practical implications for revitalizing the stagnant classical music performance market by framing the art performance as a self-gift.

• 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.

• (The) Research of the performance art and culture
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• no.33
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• pp.223-242
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• 2016

The Korean $taeg{\breve{u}}m$, a horizontal bamboo flute, is considered a representative wind instrument of Korean traditional music. Symbolized by its unique timbre and diverse techniques, this instrument transmits the beauty of Korea, and has become acknowledged even in international music scenes. Being a $taeg{\breve{u}}m$ player, composer, and ethnomusicology researcher, I have developed creative collaborations with musicians from Asian, electro-acoustic, jazz, and Western art music traditions developed outside my country of origin and tried to overcome musical boundaries through the 'intercultural performances' (after Turner 1988). Zooming in one collaboration, I detail the process of music creation and performance, collaborating with prominent Korean composer Kim $Taes{\breve{o}}ng$ (b.1967), who was commissioned by myself to write two compositions for the $taeg{\breve{u}}m$ and Western art music. The purpose is twofold: firstly, the modernization and appropriation of the Korean flute is briefly tracked down within the context of Western Art music. Secondly, a performance project is illustrated with the support of technical apparatuses such as DVD and CD recordings and delves further into the question of the 'cultural relativism' (Michael Tenzer, 2006: 7) through the interactive process. The performance-as-research, as a tool 'actualizing' (Richard Schechner 2003: 32) the hybridity, touches on critical domains in Ethnomusicology. The corresponding two parts discover, as Alan Merriam's(1964) 'tripartite model' suggests, the 'context' of Korean and Western cultures, the 'behaviour' of collaborating and performing and the 'sound' of improvised and composed productions in the course of music making.