Do you think ICT enhanced performances are really 'live' music

Bossey, Adrian ORCID: https://orcid.org/0000-0002-9874-6323 (2023) Do you think ICT enhanced performances are really 'live' music. In: Routledge International Case Studies in Event Management. Routledge, Abingdon. ISBN tbc (Submitted)

Text (DO YOU THINK ICT-ENHANCED PERFORMANCES ARE REALLY ‘LIVE’ MUSIC?) Bossey DO YOU THINK ICT-ENHANCED.pdf - Accepted Version Restricted to Repository staff only until 1 January 2099. Download (1MB) | Request a copy

Abstract / Summary

Case

There are a variety of audience motivators for attending music festivals, however the most frequent have been said to relate to “socialization and musical content” (Perron-Braulta et al 2020:1). When we consider our viewpoints of musical performances, our perception as to whether they feel authentically live may also act as a motivator to engage with/attend concerts or music festivals. In his text on live performances, Auslander (2008) used an Oxford English Dictionary definition of ‘liveness’ as “a performance, heard or watched at the time of its occurrence, as distinguished from one recorded on film, tape, etc”. However, as we shall see, ‘liveness’ is a very contentious subject, particularly in regard to the co-location (or otherwise) of audience and performer in place and time, for any given viewpoint or performance format.

The on-going introduction of new formats for ICT enhanced ‘mediatised’ live performances will further complicate the liveness debate. However, we cannot assume that all attendees or potential attendees will automatically benefit from equal access to concerts or music festivals. For people who are Deaf or disabled, accessibility is defined as; “measures put in place to address participation by those with impairments” (Finkel, Sharp & Sweeney 2019. 2) and can sometimes be facilitated by accessible ICT solutions. To ensure equality of experience in these circumstances, the importance of positive audience perceptions regarding the liveness of their viewpoint of a musical performance are further magnified.

This case is carefully designed to support you to activate your prior experience of attending live music performances and gain additional knowledge relating to audience motivators, liveness, ICT viewpoints and accessibility for people who are Deaf or disabled. Task activities are included to help you explore topics or apply your new knowledge and there will be opportunities for you to reflect on your learning and benefit from collaborative learning. You will also be invited to complete a Likert scale measuring perceptions of liveness for ICT enhanced performances at, or emanating from, music festivals, which has been devised by the author during a series of research projects.

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