Upham Finn, Lee Jin Ha, Park So Yeon
Department of Musicology, RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Oslo, Norway.
Information School, University of Washington, Seattle, WA, United States.
Front Psychol. 2024 Apr 18;15:1214930. doi: 10.3389/fpsyg.2024.1214930. eCollection 2024.
COVID-19-motivated social distancing made online concerts common practice in 2020 and 2021, with millions logging into streaming sites to see their favorite artists perform in realtime. For some fans, watching alone at home may have been enough, but concert-concurrent surges of social media activity suggest many virtual performance attendees are doing more. To understand why fans would turn their attention from these precious performance streams to social media, we explored Twitter engagement during four live streamed concerts performed by the Kpop group BTS in 2021. In public Tweets sampled by either concert hashtag or a predefined stream of users and keywords, we evaluated patterns in posting rates in relation to concert program events and investigated the content patterns in 1,200 Tweets sampled from four ranges of popularity (number of Retweets during the concert). Across concerts, short "Shout" Tweets surged at the start of songs, while the rate of retweets often fell during musical performances and shot up when BTS was off stage. Content analysis on the subsample found the materials most widely shared were informational or featured concert visuals, mimicking how fans use their phones at in-person concerts. Most original posts received few Retweets and were more personal and expressive of admiration for the performers. Comparison between the samples (concert hashtag vs. stream) also suggests users were strategic in using or omitting official concert hashtags with the strongest differences in the most widely disseminated content. Postings on Twitter during these performances seemed principally directed to fellow fans and audience members, by individuals choosing to share their own excitement and check in with others. By leveraging their existing social media networks, these concert attendees constructed a collective and interactive concert space, connecting with friends and strangers in the crowd and helping each other capture a richer experience than any broadcasting platform currently supports.
受新冠疫情影响实施的社交距离措施使得在线音乐会在2020年和2021年成为常态，数百万人登录流媒体网站实时观看他们喜爱的艺术家表演。对一些粉丝来说，独自在家观看可能就足够了，但音乐会期间社交媒体活动的激增表明，许多虚拟演出的观众还有更多举动。为了理解粉丝为何会将注意力从这些珍贵的演出直播转向社交媒体，我们研究了韩国流行乐队防弹少年团（BTS）2021年举办的四场直播音乐会期间推特上的互动情况。在通过音乐会主题标签或预定义的用户和关键词流抽取的公开推文样本中，我们评估了与音乐会节目事件相关的发帖率模式，并调查了从四个热度范围（音乐会期间的转发数）抽取的1200条推文中的内容模式。在所有音乐会上，简短的“呼喊”推文在歌曲开始时激增，而转发率在音乐表演期间往往下降，在防弹少年团不在舞台上时则飙升。对该子样本的内容分析发现，分享最广泛的内容是信息类或带有音乐会视觉画面，这与粉丝在现场音乐会中使用手机的方式类似。大多数原创推文获得的转发很少，且更具个人色彩，表达了对表演者的钦佩之情。样本之间（音乐会主题标签与流）的比较还表明，用户在使用或省略官方音乐会主题标签方面很有策略，在传播最广泛的内容中差异最为明显。在这些演出期间推特上的发帖似乎主要是针对其他粉丝和观众，人们选择分享自己的兴奋之情并与他人交流。通过利用他们现有的社交媒体网络，这些音乐会观众构建了一个集体互动的音乐会空间，与人群中的朋友和陌生人建立联系，相互帮助，获得比任何当前广播平台所支持的更丰富的体验。
