Audiences of the future: How can streamed music performance replicate the live music experience?

Phillips, Michelle, and Krause, Amanda (2024) Audiences of the future: How can streamed music performance replicate the live music experience? In: Smith, Neil Thomas, Peters, Peter, and Molina, Karoly, (eds.) Classical music futures: Practices of innovation. Open Book Publishers, pp. 333-354.

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The COVID-19 pandemic introduced audiences to new ways of engaging with artistic performance in an online environment (Rendell, 2020, terms this ‘pandemic media’). Multiple performers and organisations transferred live performances into a recorded or livestreamed format. However, at present, there is little research to support decisions that organisations may make in terms of how they do this, and what they deem to be important in how they record and / or stream. There is evidence to support the value of ‘liveness’ in music performance (Tsangaris, 2020), but what is this, and can it be replicated in online environment?

This chapter will outline existing research regarding concepts such as liveness in music performance. The study discussed in the chapter will also discuss research regarding the live music experience as a social one, and the vital role that sharing musical spaces plays in social bonding and group coherence. This study examines questions including what listeners perceive to be the main differences between live and livestreamed attendance at music performance, and what constitutes ‘liveness’ in such performances. Data analysis suggests that audiences may have different motivations to attend live versus livestreamed performances, with the former being associated with having fun and a good night out, and shared experience, and the latter often about using time in a meaningful way and the sound quality available in livestreamed attendance at an event. ‘Liveness’ involves not only such factors as the opportunity to share an experience and interact with other audience members and performers, but also the sense of atmosphere, immersion, sensory experiences, and being physically present. When asked about the advantages and disadvantages of attending a livestreamed performance, audience members cite factors common to both live and online experiences such as the logistics, and whether they are with other people or not. However, a thematic analysis also reveals differences in what people see as the advantages and disadvantages of attending online, such as the emotional response to a live performance, and considerations around accessibility and the impact on the environment for online experiences. There is an urgent need in the music industry to better understand what the essential elements of a live performance are, and whether these aspects need to be, and indeed can be replicated in a livestreamed event, for example in terms of level of sound quality and emotional response.

Item ID: 81709
Item Type: Book Chapter (Research - B1)
ISBN: 978-1-80511-075-0
Keywords: music psychology, psychology of music, social and applied psychology of music, music performance, live music, livestreaming, audience, audiences, arts participation
Copyright Information: © 2024 Neil Thomas Smith, Peter Peters and Karoly Molina. This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). This license allows you to share, copy, distribute and transmit the work for non-commercial purposes, providing attribution is made to the author (but not in any way that suggests that he endorses you or your use of the work).
Date Deposited: 03 Apr 2024 04:02
FoR Codes: 52 PSYCHOLOGY > 5205 Social and personality psychology > 520505 Social psychology @ 60%
36 CREATIVE ARTS AND WRITING > 3603 Music > 360304 Music performance @ 40%
SEO Codes: 28 EXPANDING KNOWLEDGE > 2801 Expanding knowledge > 280121 Expanding knowledge in psychology @ 40%
13 CULTURE AND SOCIETY > 1301 Arts > 130102 Music @ 60%
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