Concerts and music festivals: how to exploit digital development after the Covid-19 pandemic to create new sources of income
Autor(a) principal: | |
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Data de Publicação: | 2022 |
Tipo de documento: | Dissertação |
Idioma: | eng |
Título da fonte: | Repositório Institucional do FGV (FGV Repositório Digital) |
Texto Completo: | https://hdl.handle.net/10438/32022 |
Resumo: | Music has been a big part of what constitutes social life for thousands of years and, in this way, gives meaning to the socialization between people and their surroundings (DeNora, 2000; Roy and Dowd, 2010). Furthermore, live music events often take on characteristics that connect people in the reciprocity of emotions (Bensimon, 2012). When the outbreak of the Covid-19 pandemic began in December 2019 in China, it started to affect the live entertainment industry heavily, as in-person meetings were limited all around the world, causing the cancellation of hundreds of events. This situation, in addition to affecting the sector economically and jeopardizing the financial security of thousands of people, also affects the socialization and emotional issues of those who depend on music for their connective purposes (Bodner and Gilboa, 2009). A short-term solution found by the industry itself was to offer similar live experiences, but in digital format instead of face-to-face; these are known as live streams, and they present several different possibilities for performance models. It is important to emphasize that such a solution was only possible thanks to new enabling technologies developed. With vaccination against Covid-19 successfully spreading around the world, in-person gatherings are gradually taking place again, but the technological developments generated in this period will be present and will still be applied. Thus, from a more entrepreneurial and economic perspective, the research question of this study is then defined as: how to exploit digital development after the Covid-19 pandemic to create new sources of income? This research focuses on analyzing in depth several real and successful cases of live streams, understanding what characteristics made them successful, and which ones would potentially improve even more their financial and social results. From this analysis, the theoretical knowledge of human behavior, and the understanding of how the enabling technologies work, a framework is created that can be applied to create digital and live experiences even more remarkable for producers and their customers. |
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Neves, Letícia Queiroga dasEscolas::EAESPSantos, Juliana BonomiFischer, Bruno BrandãoAlves, André Cherubini2022-05-25T18:05:37Z2022-05-25T18:05:37Z2022-04-22https://hdl.handle.net/10438/32022Music has been a big part of what constitutes social life for thousands of years and, in this way, gives meaning to the socialization between people and their surroundings (DeNora, 2000; Roy and Dowd, 2010). Furthermore, live music events often take on characteristics that connect people in the reciprocity of emotions (Bensimon, 2012). When the outbreak of the Covid-19 pandemic began in December 2019 in China, it started to affect the live entertainment industry heavily, as in-person meetings were limited all around the world, causing the cancellation of hundreds of events. This situation, in addition to affecting the sector economically and jeopardizing the financial security of thousands of people, also affects the socialization and emotional issues of those who depend on music for their connective purposes (Bodner and Gilboa, 2009). A short-term solution found by the industry itself was to offer similar live experiences, but in digital format instead of face-to-face; these are known as live streams, and they present several different possibilities for performance models. It is important to emphasize that such a solution was only possible thanks to new enabling technologies developed. With vaccination against Covid-19 successfully spreading around the world, in-person gatherings are gradually taking place again, but the technological developments generated in this period will be present and will still be applied. Thus, from a more entrepreneurial and economic perspective, the research question of this study is then defined as: how to exploit digital development after the Covid-19 pandemic to create new sources of income? This research focuses on analyzing in depth several real and successful cases of live streams, understanding what characteristics made them successful, and which ones would potentially improve even more their financial and social results. From this analysis, the theoretical knowledge of human behavior, and the understanding of how the enabling technologies work, a framework is created that can be applied to create digital and live experiences even more remarkable for producers and their customers.A música tem sido uma grande parte do que constitui a vida social há milhares de anos e, desta forma, dá sentido à socialização entre as pessoas e seu entorno (DeNora, 2000; Roy e Dowd, 2010). Além disso, eventos de música ao vivo muitas vezes assumem características que conectam as pessoas na reciprocidade de emoções (Bensimon, 2012). Quando o surto da pandemia de Covid-19 teve seu início em dezembro de 2019 na China, começou a afetar fortemente a indústria do entretenimento ao vivo, pois os encontros presenciais eram limitados em todo o mundo, causando o cancelamento de centenas de eventos. Essa situação, além de afetar economicamente o setor e comprometer a segurança financeira de milhares de pessoas, também afeta a socialização e as questões emocionais daqueles que dependem da música para seus fins conectivos (Bodner e Gilboa, 2009). Uma solução de curto prazo encontrada pela própria indústria foi oferecer experiências ao vivo semelhantes, mas em formato digital em vez de presencial; são conhecidas como live streams e apresentam diversas possibilidades de modelos de performance. É importante ressaltar que tal solução só foi possível graças às novas tecnologias capacitadoras desenvolvidas. Com a vacinação contra a Covid-19 se espalhando com sucesso pelo mundo, os encontros presenciais estão voltando aos poucos, mas os desenvolvimentos tecnológicos gerados nesse período estarão presentes e ainda serão aplicados. Assim, numa perspetiva mais empresarial e econômica, define-se então a pergunta de pesquisa deste estudo em: como explorar o desenvolvimento digital após a pandemia de Covid-19 para criar novas fontes de renda? Esta pesquisa se concentra em analisar em profundidade vários casos reais e bemsucedidos de live streams, entendendo quais características as tornaram bem-sucedidas e quais potencialmente melhorariam ainda mais seus resultados financeiros e sociais. A partir dessa análise, do conhecimento teórico do comportamento humano, e do entendimento de como funcionam as tecnologias capacitadores, é criado um framework que pode ser aplicado para criar experiências digitais e ao vivo ainda mais marcantes para produtores e seus clientes.engLive entertainmentDigital transformationConcertsIn-person experiencesNew technologiesLive streamingEntretenimento ao vivoTransformação digitalShowsExperiências presenciaisNovas tecnologiasAdministração de empresasEntretenimentoInovações tecnológicasFestivais de musicaTecnologia streaming (Telecomunicação)COVID-19 Pandemia, 2020-Concerts and music festivals: how to exploit digital development after the Covid-19 pandemic to create new sources of incomeinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisinfo:eu-repo/semantics/openAccessreponame:Repositório Institucional do FGV (FGV Repositório Digital)instname:Fundação Getulio Vargas 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|
dc.title.por.fl_str_mv |
Concerts and music festivals: how to exploit digital development after the Covid-19 pandemic to create new sources of income |
title |
Concerts and music festivals: how to exploit digital development after the Covid-19 pandemic to create new sources of income |
spellingShingle |
Concerts and music festivals: how to exploit digital development after the Covid-19 pandemic to create new sources of income Neves, Letícia Queiroga das Live entertainment Digital transformation Concerts In-person experiences New technologies Live streaming Entretenimento ao vivo Transformação digital Shows Experiências presenciais Novas tecnologias Administração de empresas Entretenimento Inovações tecnológicas Festivais de musica Tecnologia streaming (Telecomunicação) COVID-19 Pandemia, 2020- |
title_short |
Concerts and music festivals: how to exploit digital development after the Covid-19 pandemic to create new sources of income |
title_full |
Concerts and music festivals: how to exploit digital development after the Covid-19 pandemic to create new sources of income |
title_fullStr |
Concerts and music festivals: how to exploit digital development after the Covid-19 pandemic to create new sources of income |
title_full_unstemmed |
Concerts and music festivals: how to exploit digital development after the Covid-19 pandemic to create new sources of income |
title_sort |
Concerts and music festivals: how to exploit digital development after the Covid-19 pandemic to create new sources of income |
author |
Neves, Letícia Queiroga das |
author_facet |
Neves, Letícia Queiroga das |
author_role |
author |
dc.contributor.unidadefgv.por.fl_str_mv |
Escolas::EAESP |
dc.contributor.member.none.fl_str_mv |
Santos, Juliana Bonomi Fischer, Bruno Brandão |
dc.contributor.author.fl_str_mv |
Neves, Letícia Queiroga das |
dc.contributor.advisor1.fl_str_mv |
Alves, André Cherubini |
contributor_str_mv |
Alves, André Cherubini |
dc.subject.eng.fl_str_mv |
Live entertainment Digital transformation Concerts In-person experiences New technologies Live streaming |
topic |
Live entertainment Digital transformation Concerts In-person experiences New technologies Live streaming Entretenimento ao vivo Transformação digital Shows Experiências presenciais Novas tecnologias Administração de empresas Entretenimento Inovações tecnológicas Festivais de musica Tecnologia streaming (Telecomunicação) COVID-19 Pandemia, 2020- |
dc.subject.por.fl_str_mv |
Entretenimento ao vivo Transformação digital Shows Experiências presenciais Novas tecnologias |
dc.subject.area.por.fl_str_mv |
Administração de empresas |
dc.subject.bibliodata.por.fl_str_mv |
Entretenimento Inovações tecnológicas Festivais de musica Tecnologia streaming (Telecomunicação) COVID-19 Pandemia, 2020- |
description |
Music has been a big part of what constitutes social life for thousands of years and, in this way, gives meaning to the socialization between people and their surroundings (DeNora, 2000; Roy and Dowd, 2010). Furthermore, live music events often take on characteristics that connect people in the reciprocity of emotions (Bensimon, 2012). When the outbreak of the Covid-19 pandemic began in December 2019 in China, it started to affect the live entertainment industry heavily, as in-person meetings were limited all around the world, causing the cancellation of hundreds of events. This situation, in addition to affecting the sector economically and jeopardizing the financial security of thousands of people, also affects the socialization and emotional issues of those who depend on music for their connective purposes (Bodner and Gilboa, 2009). A short-term solution found by the industry itself was to offer similar live experiences, but in digital format instead of face-to-face; these are known as live streams, and they present several different possibilities for performance models. It is important to emphasize that such a solution was only possible thanks to new enabling technologies developed. With vaccination against Covid-19 successfully spreading around the world, in-person gatherings are gradually taking place again, but the technological developments generated in this period will be present and will still be applied. Thus, from a more entrepreneurial and economic perspective, the research question of this study is then defined as: how to exploit digital development after the Covid-19 pandemic to create new sources of income? This research focuses on analyzing in depth several real and successful cases of live streams, understanding what characteristics made them successful, and which ones would potentially improve even more their financial and social results. From this analysis, the theoretical knowledge of human behavior, and the understanding of how the enabling technologies work, a framework is created that can be applied to create digital and live experiences even more remarkable for producers and their customers. |
publishDate |
2022 |
dc.date.accessioned.fl_str_mv |
2022-05-25T18:05:37Z |
dc.date.available.fl_str_mv |
2022-05-25T18:05:37Z |
dc.date.issued.fl_str_mv |
2022-04-22 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
format |
masterThesis |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://hdl.handle.net/10438/32022 |
url |
https://hdl.handle.net/10438/32022 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.source.none.fl_str_mv |
reponame:Repositório Institucional do FGV (FGV Repositório Digital) instname:Fundação Getulio Vargas (FGV) instacron:FGV |
instname_str |
Fundação Getulio Vargas (FGV) |
instacron_str |
FGV |
institution |
FGV |
reponame_str |
Repositório Institucional do FGV (FGV Repositório Digital) |
collection |
Repositório Institucional do FGV (FGV Repositório Digital) |
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MD5 MD5 MD5 MD5 |
repository.name.fl_str_mv |
Repositório Institucional do FGV (FGV Repositório Digital) - Fundação Getulio Vargas (FGV) |
repository.mail.fl_str_mv |
|
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1813797871189753856 |