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Digital Concert Experience: An Online Research Project on Live Streaming During the Pandemic
16 references·0 citing·44 second hop
Digital Concert Experience: An Online Research Project on Live Streaming During the Pandemic (2023)Digital Concert Experience: An Online Res…The audience as artist? The audience’s experience of participatory music (2019)The audience as artist? The a…Nicht-Besucherforschung (2019)Nicht-BesucherforschungApplaus (2018)ApplausAlmost like being there? A conceptualisation of live-streaming theatre (2018)Almost like being there? A co…Why go to pop concerts? The motivations behind live music attendance (2016)Why go to pop concerts? The m…The stress-reducing effect of music listening varies depending on the social context (2016)The stress-reducing effect of…Coughing and Clapping: Investigating Audience Experience (2016)Coughing and Clapping: Invest…Coughing and clapping: investigating audience experience (2015)Coughing and clapping: invest…University students’ strong experiences of music (2011)University students’ strong e…New Audiences for Classical Music: The Experiences of Non-attenders at Live Orchestral Concerts (2010)New Audiences for Classical M…Audience experience : measuring quality in the performing arts (2009)Audience experience : measuri…Cross-modal interactions in the experience of musical performances: Physiological correlates (2008)Cross-modal interactions in t…What Makes an Audience? Investigating the Roles and Experiences of Listeners at a Chamber Music Festival (2005)What Makes an Audience? Inves…Ways of Listening (2005)Ways of ListeningMusicking: The Meanings of Performing and Listening (1999)Musicking: The Meanings of Pe…Framing: Toward Clarification of a Fractured Paradigm (1993)Framing: Toward Clarification…The Theatrical Event: Dynamics of Performance and Perception (2000)Authenticating acts and authoritative performances: questing for self and community (2003)Love, hate, arousal and engagement (2011)Experiencing Exhibitions: A Review of Studies on Visitor Experiences in Museums (2012)Deep hanging out in the arts: an anthropological approach to capturing cultural value (2016)The Agenda-Setting Function of Mass Media (1972)Choices, values, and frames. (1984)The Nature and Origins of Mass Opinion. (1993)Framing as a Theory of Media Effects (1999)Framing Theory (2007)Choices, Values, and Frames (2013)Changing Highbrow Taste: From Snob to Omnivore (1996)Music in Everyday Life (2000)Musicking: The Meanings of Performing and Listening (2000)The impact of music festival attendance on young people’s psychological and social well-being (2010)The nature and scope of festival studies (2010)Emotion, engagement and meaning in strong experiences of music performance (2012)Telling more than we can know: Verbal reports on mental processes. (1977)Subjective well-being: Three decades of progress. (1999)The role of positive emotions in positive psychology: The broaden-and-build theory of positive emotions. (2001)Enhancing wellbeing: An emerging model of the adaptive functions of music listening (2015)Using thematic analysis in psychology (2006)Liveness: performance in a mediatized culture (2008)Business Model Innovation: Opportunities and Barriers (2009)Music Audiences 3.0: Concert-Goers’ Psychological Motivations at the Dawn of Virtual Reality (2017)Abductive Theory Construction (2021)Stress, social support, and the buffering hypothesis. (1985)Validity and Reliability of the Experience-Sampling Method (1987)Ecological Momentary Assessment (2007)The Impact of Different Sounds on Stress Level in the Context of EEG, Cardiac Measures and Subjective Stress Level: A Pilot Study (2020)Music, Computing, and Health: A Roadmap for the Current and Future Roles of Music Technology for Health Care and Well-Being (2021)A Review of the Literature on the Relationship of Music Education to the Development of Socio-Emotional Learning (2022)Musicking: the meanings of performing and listening (1999)Presentation of Self in Everyday Life, the (2008)Music as social life: the politics of participation (2009)In Defence of the Familiar: Understanding Conservatism in Concert Selection Amongst Classical Music Audiences (2020)Musicians as “Makers in Society”: A Conceptual Foundation for Contemporary Professional Higher Music Education (2021)IN/ACTive: A Distance-Technology-Mediated Stage for Performer-Audience Telepresence and Environmental Control (2023)Staying in, rocking out: Online live music portal shows during the coronavirus pandemic (2020)What Is Sociological about Music? (2010)Decomposed: a political ecology of music (2015)The Psychological Functions of Music in Adolescence (2004)Loving Music Till It Hurts (2019)Uses and Perceptions of Music in Times of COVID-19: A Spanish Population Survey (2021)
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References

  • 1993Framing: Toward Clarification of a Fractured Paradigm17,117 cited
  • 2005Ways of Listening466 cited
  • 1999Musicking: The Meanings of Performing and Listening271 cited
  • 2011University students’ strong experiences of music164 cited
  • 2005What Makes an Audience? Investigating the Roles and Experiences of Listeners at a Chamber Music Festival152 cited
  • 2016Why go to pop concerts? The motivations behind live music attendance150 cited
  • 2009Audience experience : measuring quality in the performing arts148 cited
  • 2015Coughing and clapping: investigating audience experience134 cited
  • 2019The audience as artist? The audience’s experience of participatory music123 cited
  • 2016The stress-reducing effect of music listening varies depending on the social context118 cited
  • 2008Cross-modal interactions in the experience of musical performances: Physiological correlates106 cited
  • 2019Nicht-Besucherforschung89 cited
  • 2018Almost like being there? A conceptualisation of live-streaming theatre85 cited
  • 2010New Audiences for Classical Music: The Experiences of Non-attenders at Live Orchestral Concerts79 cited
  • 2018Applaus77 cited

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  • 2016Coughing and Clapping: Investigating Audience Experience56 cited
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