music concerts and other musical performances in virtual
reality
Nelly Khaleram Paulsson
Program: Media Production and Process Design, 180hp Faculty of Technology and Society
Mentor: Maria Engberg
Examiner: Suzan Bostepe
Abstract
We live in a time when technology is digitalizing the world. Technology is a medium that brings people closer to each other and enables more experiences to take place; at home. The increase of music concert attendance boomed the music industry in 2016 and set record sales already halfway into the year. However, there are still people that cannot attend music concerts or performances due to other factors. It was not only the music industry that boomed in 2016; artists started producing music concerts in Virtual Reality (VR) enabling them to reach out to a wider audience. This study shows how music fans in the age between 20-30 perceive music concerts and performances in virtual worlds. The study conducted qualitative experiments and focus group discussions with a total of nine participants. The conclusion is that music fans perceive virtual reality as a media technology that needs more product development and focus on the possibilities of becoming a more social experience. Virtual reality is a technology that isolates the user; the music fans demanded an experience that enables co-presence. That is, achieving immersion and experiencing being present in a virtual world with another person.
Keywords
Virtual Reality, Music Performance, Music Concert, Musical, Music Technology, Body Tracking, 3D-sound, Stereo Sound, Immersion, Presence, HMD
Acknowledgments
This study was the culmination of the three-year program Media Production and Process Design. I would therefore like to thank all the teachers at Malmo University, Media
Technology. I would also like to thank my mentor, Maria Engberg. For your kind support and all our valuable discussions. Thank you to Henriette Lucander for your support during the early stages of this study’s development.
This study would not have been possible without the contribution of the nine participants that took part in the study and shared their experiences and thoughts. A special thank you to the digital creators Hannes Almqvist and Herman Fredlund for kindly giving their contribution as well.
Table of content
1 Introduction ... 1
1.1
Aim and purpose ... 3
1.2
Research question ... 3
1.3
Background ... 3
1.4
Target audience ... 4
1.5
Limitations ... 4
2 Method ... 5
2.1
Scientific research method ... 5
2.2
Survey ... 6
Qualitative experiment ... 7
2.3
Focus group discussion ... 11
2.4
Expert interviews ... 11
2.5
Data analysis procedure ... 13
2.6
Selection and failure ... 13
2.7
Validity and reliability ... 14
2.8
Ethics ... 15
2.9
Method discussion ... 16
3 State of the art of virtual reality and prior research ... 19
3.1
Virtual Reality ... 19
3.1.1
Design principles ... 20
3.1.2
Display ... 21
3.1.3
Head tracking ... 21
3.2
Virtual Reality Hardware ... 22
3.3
Virtual Reality Software ... 24
3.4
Music performance in virtual reality ... 25
3.4.1
3D and spatial sound ... 25
3.4.2
Presence and immersion ... 26
3.5
Music consumption ... 27
4 Result ... 28
4.1
Survey and recruitment tool ... 28
4.2
Qualitative experiment and group discussion ... 30
4.2.1
Head Mounted Displays ... 30
4.2.2
Content comparison ... 31
4.2.3
Motivation ... 32
4.2.4
Social experience ... 32
4.3
Expert Interviews ... 33
5 Discussion ... 35
5.1.1
Immersion ... 36
5.1.2
Perception and preferences ... 37
5.1.3
Guidelines ... 38
5.1.4
Social aspects ... 38
6 Conclusion ... 40
6.1
Future possible result ... 40
References ...
Appendix 1: Survey and recruitment tool ... 5
Appendix 2: Focus Group Questions ... 8
Appendix 3: Expert Interview, Herman Fredlund ... 9
1
Introduction
The music industry has entered a new digital era where one can observe higher demands on music performers to stand out from the crowd, create valuable content and reach out to their audience, both in music as well as in experience.
For many years the music industry has found it difficult to keep up with the technology. Before digitalization artists got revenue by producing songs and releasing albums. With the rise of technology, consumers started to download from illegal third parties. This was followed by a drop in record sales (Stafford, 2010, p. 114) Some consumers felt downloading was more convenient and less expensive than buying the actual album itself. (Marr, 2015)
Artists still produce new songs but now release their albums through Spotify and other streaming services. They too get their music videos uploaded on YouTube. Music streaming services that let the consumer sign up on a monthly subscription and listen to unlimited music have been a digital solution addressing illegal downloads (Stafford, 2010, p. 114).. So have been video platforms that convert the quantity of clicked videos into revenue.
According to Kafka (2016) the majority of artists’ revenue comes from the number of sold concert tickets. McIntyre (2016) writes in Forbes Magazine that the year 2016 is becoming the best year thus far for live concerts. Pollstar (2016), a trade publication that collects data from concerts and compiles annual reports, reported that the first half of 2016 already entails the top 50 best tour performances in the world, with a profit margin of nearly $2 billion: An increase of 14% can be observed since 2015. The figures of Pollstar are based on a compilation of data from all over the world. Even some artists like Robbie Williams, Alanis Morrisette and Bruce Springsteen that haven’t produced any new music for the last two decades, still organise continuous concerts and have a big returning audience (Kafka, 2016). On stage they
demonstrate success and top the charts with the most sold concert tickets every year (Pollstar, 2016).
Attending a concert and experiencing the atmosphere is a social activity, which is becoming more popular every year. Regardless, there are still many people who choose not to go to concert, and the reasons seem to be many and often subjective. The need starts at listening to songs and watching music videos but the actual step of buying a concert ticket and showing up, can for some people be a big leap. For example some individuals may not have the economic means to attend physical concerts, another may be due to geographical boundaries and one factor may be due to physical or mental illnesses. The factors are many and according to Brown (2016) the main reason for why some people cannot attend concerts is the fact that concert tickets prices have increased over recent years. For a concert of Justin Timberlake, a pop artist from America, a ticket can cost about $540. For some, this equivalent to one month's rent.
In 2016 some artists and bands like Kygo, U2 and Coldplay have chosen to produce music concerts in virtual worlds, also known as Virtual Reality (VR). Even musical performances such as the musical The Lion King and other symphony orchestras, have produced VR-production to both advertise themselves and invite their audience into a more immersive Virtual Environment (VE).
Virtual reality is a technique based on 360-degree computer engineering. It is facilitated by camera equipment and software specially designed to simulate the user's senses and almost exactly emulate a specific location. The aim is to increase the users physical presence in a VE. The user can, using their own mobile phone, put on a headset and simply enter a digital world within seconds. The mobile phone becomes a body-tracking sensor that allows the user to move ther head and explore the new world. With help of VR one can therefore experience concerts in their own couch and on their own terms.
A strong crossover has been found between live music fans and millennials. Millennials are people born between the years 1980-2000 and in an interview with NBC News Harris Poll, the founder of Eventbrite, claims that one in five millennial attended a music festival the past year and that festivals are more popular for millennials and those attending college. (Rosenfeld, 2014) The millennials rely primarily on technology and 30% of them use at least four different devices every day and attends to their smartphone about 43 times in a day (Welin, 2014). In this context it is of great interest to find out how these music fans perceive music concerts in VR and if they can feel immersed in a virtual world, through a standard digital display.
1.1
Aim and purpose
The overall aim of the study is to gain a deeper understanding of how concerts and other performances in Virtual Reality are perceived by music fans in the age between 20-30. This study will focus on VR experience from the user's own perspective. A personal goal of the study includes gaining a deeper knowledge of how these types of VR-productions can be perceived by users and being able to apply this on future work-related projects.
1.2
Research question
How do music fans perceive music concerts and performances created in virtual reality?
1.3
Background
Virtual reality and the concept of creating an immersed environment have been attempted for several years. The concept behind a virtual reality can be traced back to the 14th century, when Italian painters incorporated linear perspective into their artworks. The purpose of linear
perspective was to resemble the motive to the absolute extent that the viewer would almost look out through a window, feeling more presence. (Wang, 2016)
In 1929 the innovator Edwin Link created the first flight simulator, the Link Trainer. By using parts from pianos and an engine, he created an aircraft attached to the ground. When activated, it would move and make noises to resemble a real life aircraft in the air. (Plunkett, 2011)
In 1960, Morton Heilig created and patented what is most known as the world’s first VR system: the Sensorama. Heilig described it to be ‘the Cinema of the Future’. It had a built-in vibrating seat, an arcade-style cabinet with a 3D-display and a scent producer. All of this would stimulate the users senses and immerse them into a virtual world. (Robertson & Zelenko, 2016)
In 2012, Palmer Luckey, co-founder of the company Oculus VR, created a new VR system that connects to a computer. It was released in 2012 as the Rift and they created a Kickstarter campaign for the prototype to fund the development. $10 million were collected. In 2014 Facebook acquired the company with $2 billion and later the consumer product launched in March, 2016. (Rubin, 2016)
In the same way as virtual reality has evolved, the music industry has gone from a 12-inch vinyl to a 6 inch digital screen. In 2016 you could experience music videos and concerts in virtual reality. There has been a rush of creating virtual performances and even popular festivals are affording live streaming for users to experience backstage-footage and exclusive material. (Hu, 2016)
1.4
Target audience
The predetermined target audience includes producers such as advertising bureaus and digital creators who want to gain a deeper understanding how virtual content, related to music, are received in 2016 by music fans in the age between 20-30. That is how they experience these performances and what they expect from the experience.
1.5
Limitations
Virtual reality can be produced in different kind of formats and is often used in gaming; the study will not present any information about the gaming industry or its productions within VR. In the literature that deals with VR, it is often that a comparison between Virtual Reality and Augmented Reality (AR) will occur. Information about AR will be presented in comparison to VR, but any deeper research about its technique and affects on the user will not be further discussed, for this is out of this study’s scope.
2
Method
The study used a mixed method as a research design. The choice and design is based on what exploration is needed in order to measure the phenomenon in-depth. This study used a
qualitative experiment as its dominant method and complemented it with a quantitative survey to provide a general overview and act as a recruitment tool. In order to take the discussion further, the study executed expert interviews with two digital creators active in the specific field of virtual reality. The chapter begins with presenting the scientific research method,
“qualitative experiment”. then it depicts the study’s approach. The chapter ends with a discussion about the motives behind the choices that had been made.
2.1
Scientific research method
Qualitative experiment is a hybrid methodological technique that combines experimental design with qualitative strategies in order to explore problems or subjects more in-depth. Researchers often use the technique when they wish to gain a more holistic reading of audience’s
perceptions (Robinson & Mendelson, 2012).
Mendelson & Darling-Wolf (2009) conducted a case study with National Geographic Magazine (NGM) where the purpose was to investigate the audience’s reactions towards given content. Concretely, by exposing participants to different stimuli using visuals and text of Saudi Arabia. Former research studies used traditional psychological survey methods where the purpose was to test different hypothesis about audience perception. It provided a quantitative coding which did not capture the full context of the participants’ reactions to the visuals and the texts. It also failed to observe the participants in their environment, when being exposed to the different stimuli. The authors then began looking in to other studies that focused more on communication research. Creswell & Clark (2010) mentions that the framework of mixed method stems from the dominant-less dominant design where both qualitative and quantitative techniques are merged into one method. It is suitable for studies with focus on content perception and visual stimuli.
According to Robinson & Mendelson (2012) mixed method is not considered as a research approach more suitable than traditional research techniques but in the context of comparing content in order to retrieve more comprehensive answers, then mixed method is more suitable for that type of purpose. It is often used by combining observations, experiments and in-depth interviews.
Robinson & Mendelson (2012) also mentions the different frameworks that can be used. They present the general path for this hybrid-technique in four stages (See table 1). The model should be modified according to the sample size, execution and resources (Robinson & Mendelson, 2012).
Table 1 - Sample experimental qualitative technique, hybrid-method design.
Phase I Phase II Phase III Phase IV
(optional) Phases of method execution Pre-test Application of Stimulus Pre-Test Interaction Post-Test Addendum Sample technique per phase Survey, Open-ended Questions Experiment, Observation In-Depth Interviewing, Focus Groups Survey, Open-ended Questions Sample question
How often do you visit the following news website? When presented with unfamiliar news presentation, what actions do subjects take?
What are you thinking as you look at this? What in this news presentation do you consider most credible?
Have your attitude changed? Analysis technique Frequencies, Inferential Statistics Discourse, Analysis, Inferential Statistics Discourse, Textual or Content Analysis Textual Analysis, Frequencies, Inferential Statistics
2.2
Survey
In order to recruit participants for the qualitative experiment a survey was created and the quantitative questions were based on theory (See appendix 1). According to Wilkinson (2000, p. 7) a quantitative research method is usually categorized as non-participant. The respondents will be ticking off options, agreeing or disagreeing with different statements that the researcher has devised.
The average completion time was approximately three minutes and the survey got 46 responses. The primary purpose of the survey was to recruit participants, interested in music concerts and musical performances. The aim was to get them to participate in the focus group and in an experiment with VR. A secondary purpose was to gain an understanding of user’s behaviour on YouTube, Spotify, in music performances and technology use on a daily basis.
The survey was posted on social media channels Facebook and Instagram. In order to get more traction to the survey, three different people in the Malmo, Gothenburg and Stockholm region shared the survey on their Facebook page (See table 2). The numbers of possible respondents that the survey would have reached were therefore 1277 Facebook users. The table below represent the distribution of the survey and the column ‘Possible respondents’ equals the number of friends on the given person’s own Facebook. Out of 1277 people that were targeted reached, 27,7 percent submitted the survey.
Table 2: Distribution of Survey.
Distribution of Survey Possible Respondents
Student’s own Facebook page 780
Shared by person in the Stockholm region 164 Shared by person in the Gothenburg region 54 Shared by person in the Malmo region 279
Total: 1277
Qualitative experiment
From the survey, fourteen respondents were interested and recruited for the qualitative experiment and the focus group discussion. Two focus groups were assembled with five participants in each. Due to some practical difficulties, two participants in each group cancelled that same day and the focus groups were minimized to three participants in each group. In order to get more valuable result and complement the result, a third focus group was later assembled and conducted with another three participants. The literature displays divided opinions on the matter of numbers and the appropriate amount of participants in a group.
According to Wilkinson (2000, p. 49) the general number is between seven to ten individuals. A number higher than twelve participants will cause the focus group to fragment. However, the recommendations have shifted through the years and according to Hylander (2001, p. 11) there have been records of focus groups conducted with three to five participants. It all depends on the structuring of the focus groups, the participants’ own interest of the subject and the framing of the questions. Practical choices can also be a factor that the researcher cannot gain control over, for example participants that could not be involved in a focus group due to long commute or sudden change in plans (Hylander, 2001, p. 12).
According to Hylander (2001, p. 12) a recommendation is that at least three focus group should be conducted so that the researcher gains enough understanding for the analysis to take part. It is common to have between three to six groups but if the subject only concerns a small group of participants with similar backgrounds, fewer groups are allowed. The study conducted a total of three experiments and three focus groups, with nine participants. Background information about each group and the participants is presented in the tables below.
Group A consisted of people within media, production and communication (See table 3). None of the participants had any relations to each other thus they had never met before. All of the participants in group A, knew the moderator from before.
Table 3: Group A
Respondent Age Occupation Music Genre Music Concert Experience
A1 23 System Developer Hip Hop, Punk Rarely
A2 24 Student Indie, Pop 2-3 times/year
A3 28 Project Leader Heavy Metal,
Rock
More than 7 times/year
Group B also consisted of people within media and communication (See table 4). Respondent B1 have had any form of relations with both respondent B2 and B3, meaning they have been in some form of contact before the study took place. But however, B2 and B3 had never met before. Respondent B1 and B3 knew the moderator from before.
Respondent Age Occupation Music Genre Music Concert Experience
B1 25 Student Pop, Hip Hop More than 7 times/year
B2 20 Student Indie, Rock Rarely
B3 30 Media Producer Indie, Country, Rock
4-6 times/year
Group C was the only group out of the three that did not have any occupation related to media (See table 5). The respondents C1 and C3 knew each other from before in a work related situation. All of the participants knew the moderator from before.
Table 5: Group C
Respondent Age Occupation Music Genre Music Concert Experience
C1 28 Welder Heavy Metal, Hip
Hop
2-3 times/year
C2 30 Assistant Nurse Hip Hop, Pop Rarely C3 21 Electrician Hip Hop, Rock 2-3 times/year
The qualitative experiments were the initial step, having taken place before the group
discussion. The purpose of the experiments was to expose the participants to virtual reality and enable a deeper discussion within a group. Focus group discussions are suitable when the researcher wants to gain information about how people think, perceive an idea or an experiment and when there is a desire for a deeper understanding of a phenomenon (Wilkinson, 2000, p. 50).
The experiments used two different head mounted displays (HMD), Google Cardboard and a similar model to the Samsung Gear, the Linocell VR Pro. In order to increase the level of immersion and sense of presence, the participants used headphones with cushioning that enfolded around the ears, facilitating a higher quality of sound. Also, it is important to highlight that if the participants chose to be sat, instead of standing up, they were sat in a rotating chair. The participants were given the chance to test both of the HMDs and they were also given two 360-degree videos.
The first video was a music concert with the artist Kygo, where the user was standing near the stage (See figure 1:A). The second video was a musical performance from The Lion King, where the user would be standing on stage with the performers and shifting places (See figure 1:B). The illustration below presents an overview of the hotspots that were used to produce the videos. The dark grey area represents the stage and the white area represents the audience. In the video with Kygo, the user is placed near the stage, not amongst the other spectators but within a more excluded area. However, in the other video with The Lion King, the user is placed on the stage and shifting between six different places on stage, including one mid-air and one in the backstage (lightgrey area). The blue dots represent the artist or the main singer. As seen in Kygo’s performances, different singers attended the stage; they represent the purple dots, as presented below.
Figure 1: Illustration/overview of the two 360-videos, hotspots being used.
The purpose of this method was to compare and contrast the content and the ways in which the participants perceived each video using a HMD. The qualitative experiment was held for approximately 25 minutes. Focus groups are a suitable method when the researcher intends to examine different ‘subjective experiences’ of participants, as experienced through a specific stimuli experiment (Robinson & Mendelson, 2012, p. 338).
2.3
Focus group discussion
Two people were conducting the focus groups, one acted as the moderator and the other one helped out with the technique, tape-recorder and the HMDs. According to Wilkinson (2000, p. 50) it is easier to manage large groups when there are two people or more leading. The study did benefit from having to people managing, but more than two would have been unnecessary.
The moderator used an interview guide. The questions were predefined, categorized and tied to the field of user experience (See appendix 2). The moderator had a passive role in the discussion but guided the participants when it was needed and followed up with questions depending on the participants’ answers, in order to retrieve more comprehensive answers. The predefined questions served as support for the moderator and kept the discussion active. The purpose of the discussion was to make the participants reflect about their experiences and compare those with their former experiences and ideas.
The focus group participants opened up the discussion even more by sharing ideas and former music experiences with each other, it provided additional information and further clarification for the researcher. That is, it provided more evidence for the study. The participants were sat around the table on rotating chairs. In none of the groups had the participants known each other. The total time of the discussion was approximately 40 minutes. All of the three focus groups were recorded using a tape-recorder and further transcribed for data analysis purposes
2.4
Expert interviews
The expert interviews were semi-structured. Two qualitative interviews were conducted. The purpose was to gain a deeper understanding of VR-production, from an expert point of view. Virtual reality can be produced by using different techniques; two of the most common ones are by the means of either a 360-camera or 3D-programs which producers use to build virtual worlds. The two respondents from the interviews represent the two techniques.
Hannes Almqvist works as a 3D-artist at 3D Interactive in Stockholm. He has mostly worked on projects for clients, and he has built apps, games and showrooms for real estate firms. Almqvist has been in the industry since 2013.
Herman Fredlund is a virtual reality producer and a 360-videographer. Fredlund produced a music video using 360-cameras in 2016 and is currently working as a freelancer and exploring different storytelling techniques using VR. Fredlund has been in the industry since 2015.
Due to the respondents’ geographical placements, the interviews were conducted using Skype and email. The questions were predefined and within the field of research (See appendix 3). A week before the first interview, the questions were tested in a pilot interview. The result showed that some questions were repetitive and allowed room for misinterpretation. The questions were reviewed and redefined, creating more precise and narrower questions, allowing the expert to have more time to discuss deeper about the subject and enabling the interviewer to follow up.
The questions were divided into three different groups. The purpose of the first group of questions was to build rapport with the expert: that is, create a relaxed atmosphere, and make the expert feel comfortable towards the interview and the interviewer. The second group consisted of more precise and narrower questions regarding the production of a virtual world, the techniques behind it and how the digital creators can make the user feel more immersed or limited. The purpose was to open up a deeper discussion about virtual reality. The third group of questions were more concluded and completive. Kylén (2004, p. 31) mentions the interview model ‘The Funnel’ and refers to an interview that has a relaxed introduction with open-ended questions. Then, toward the middle of the interview, the questions get more precise and at the end of the interview the question opens up again. According to Wilkinson (2000, p. 47) there are many variations of how an interview should be conducted. When conducting the interview the interviewee should feel relaxed and be in a suitable environment. Body language and eye contact should be noticed and it is arguably easier to analyse the interview if it is recorded.
An interview guide was used during the first interview and the approximately time of completion was 30 minutes on Skype. Video conference call was activated to detect body language. The interview was recorded and transcribed, allowing a more systematic management of the material. The second interview was conducted approximately two weeks after the first interview. This enabled the researcher to have more time to analyse the material before preparing for the second interview. The interview was conducted using email and the
completion time was three days. This method was not seen as a problem, the interviewee was positive toward this type of technique and it was more suited to his schedule at that time.
Both Almqvist and Fredlund were positive to an eventual follow-up if I had any more questions. After the interview both Almqvist and Fredlund made their contribution by sending related articles and videos in the same field of research. Kylén (2004, p. 31) states the importance of showing respect and end the interview with leaving a good impression on the interviewee. This can enable further contact if the researcher needs to follow up and raise any further questions.
2.5
Data analysis procedure
When analysing the data it is important that some kind of structure or coding frame are given (Wilkinson, 2000, p. 78). This study conducted three data analysis procedures. The first analysis technique was the recruitment tool and survey.
The survey was constructed in the online tool Typeform, which enabled a more efficient workflow of statistics and visuals. When analysing the statistics the researcher searched for frequencies in order to receive a general overview of the music fans and their behaviour. The data was later dissected and sorted in to a new database where the interested participants were gathered. This enabled a narrower data analysis technique and the result acted as a support for the assembling of the focus groups.
The data retrieved from the experiments included observations and body language of the participants when exploring virtual concerts. Another technique, “think-aloud” technique, was considered but rejected. This technique lets the participants talk out loud while exploring the concert. This method lets data to organically arise from the experiment (Robinson &
Mendelson, 2012, p. 340). However this would have decreased the sense of immersion so it was excluded. The data from the observations in combination with the data from the group
discussion has shown to be a positive data analysis technique.
The group discussion was recorded and transcribed. According to Hylander (2001, p. 18), if the interviews are transcribed and printed out then any qualitative analysis technique can be used. She also states that the method does not determine the analysis method, there are many different ways one can analyse the content. The analysis technique that the study used was a coding framework, meaning the data content was analysed and put into categories, sorted as positive, negative or neutral responses. The total group discussion was also analysed with regards to group dynamics in order to compare the different groups with each other and search for commonalities and differences.
When choosing the right participants for the study, the reader should be informed that there was some difficulties organizing a perfect day and time for the participants to meet. Due to time pressure, an active choice were made to have two dates and two times where people could tick of boxes; informing when they were available. This enabled a natural selection and some selection loss due to geographic boundaries. Mostly students and freelance workers were available at first, that is why the selection in group A and B mostly consists of students and media workers. The third group consist of people with a fulltime job, due to the fact that the experiment and discussion was conducted after working hours.
However, the occupation of the participants plays a minor role. The criteria were music fans, meaning it could be who ever in the age between 20-30 with an interest in music. There are situations when the participants and their occupation in some answers nuance the discussions, but the overall theme and how the discussions plays out and opens up are similar to each other.
When choosing the HMD models to be used in the experiment, it was important that it was HMDs that supported smartphones. The Samsung Gear is only available for the Samsung phones; the choice fell on the Linocell Pro VR. It is an inexpensive version of the Samsung Gear and quite similar to its design and functions, the difference is that it supports all sorts of smartphones. The other model that were used was the Google Cardboard, due to it being the most consumer friendly HMD on the market right now. The more high-end HMDs were of an interest but because of the cost and difficulties of finding a contact that may have them, they were excluded from the experiment.
Failure has occurred with selection of theory and related work. Music concerts have a correlation to consumption and combined with the technology of VR, made it difficult to retrieve theory that was both within the field of research but also up to date with the technology. To complement the theory, other reliable sources have been retrieved from news and websites with a strong focus on technology and innovation, it was of great importance that the author presented their opinion with an unbiased point of view.
2.7
Validity and reliability
The study aims to achieve high validity and reliability. To achieve an increased validity for the study, the participants in the experiment and focus groups were recruited from the survey.
In order to ensure that the study focused on how music fans perceive virtual concerts and performances, the participants needed to have a genuine motivation to participate. This was considered as an important aspect in order to increase the study’s reliability.
The survey did not get as many submitted responses as first expected, this have had an effect on the result and unfortunately decreased the reliability of the study. However by conducting more interviews and detect if the different results had a similar pattern, it optimized the reliability of the research.
In order to increase the validity of the study even further, the questions for the qualitative interviews were constructed and tested on a pilot interview. The result from the two expert interviews gave the study a more nuanced perspective from behind the VR-production. The different techniques they use today and the interviewees’ responses increased the validity. However, by conducting the expert interviews on Skype and email would mean a decrease of the reliability and a negative effect on the study. Body language could only be detected with Skype. However, due to the respondent’s extensive response in the email there was no sign of it affecting the result in a negative aspect.
2.8
Ethics
Every study and research faces different challenges when the researcher needs to make a choice in order to protect individuals or protects their study. When publishing the survey online, the researcher wrote what the main purpose of the study was and ensured anonymity. This was to protect the individuals but also to make them feel more relaxed about submitting their answers. The survey was also a recruitment tool, used to recruit participants. Thus a contact information form was implemented on the last question of the survey. In order to minimize the risk of intimidating the respondents with the form, the researcher also stated that if there were an interest of participating, they would have to type their name and telephone number on the last question. They were also informed that all information about the individuals would be disclosed and only visible to the researcher. Ensuring that the participants in the research are safe is a crucial element of ethical research practice (Wiles, 2013, p. 7).
When in contact with the virtual reality experts, the researcher asked if they wanted to be anonymous or have anything that they have said removed from the study. Both Almqvist and Fredlund did not feel the urge to be anonymous or have anything in confidentiality. This also ensured the researcher that their contributions were of a honest opinion.
There was always an informed consent that the researcher asked all the participants before publishing or writing anything in the study. This was to ensure that the study was in-line with the demands of consent and confidentiality.
2.9
Method discussion
In order to answer the question of how music fans perceive music concerts and musical performances in virtual worlds, a mixed method has been used as a research strategy. Each method has its own benefits and challenges but this choice was made because of how
explorative virtual reality is and even though VR is easily accessible for the consumer today, the concept of combining it with music concerts and performances is fairly new to the public. Meaning that the chances of finding music fans in the age of 20-30 that have been exposed to this format were considered low. I considered the alternative of trying to find these music fans but I saw it as a greater opportunity to find out how many were interested in experiencing VR instead. I therefore chose to conduct an experiment with a qualitative approach. The qualitative experiment is a central part of the study and more dominant result was retrieved from this method. By choosing an experiment I could therefore ensure that the participants had the same experience, meaning watching a 360-video in a head mounted display with headphones in a controlled environment.
I also considered the alternative of conducting one-on-one interviews, hoping for a more extensive result. But the amount of time and analysing would have taking up a tremendous time of the already set research schedule. It was considered important that the research retrieved data from at least seven music fans, in order to have valuable result to take in to discussion and increase the study’s reliability. The benefits of having group discussions is that the participants together creates new and interesting data and ideas that can be valuable to take further in the study (Hylander, 2001, p. 14).
I therefore saw a qualitative experiment as a suitable method for this study. It was also
conducted in groups of three. The choice of having groups was that they could evaluate and talk about the shared experience in a discussion. This was also the reason why the alternative of conducting one-on-one interviews was excluded. The purpose was to make the participants discuss together and share their former experiences of attending music concerts and reflect, enabling a deeper discussion. According to Robinson & Mendelson (2012) there are many variations that can occur in order to retrieve extensive answers. One-on-one interviews are suitable when the researcher do not want the participant to be affected by other perspectives, in order to compare results. This is something that can be seen as either a benefit or a challenge when it comes to focus groups. There will always be a more dominant person that speaks at focus groups and leads the discussion, resulting in other participants only agreeing (Hylander, 2001, p. 3). When executing the experiments with the three groups, there was no feeling of someone stepping over the line and taking over instead there was a mutual respect for each other.
The participants in the experiment were recruited using a survey online. The choice of using a survey for recruitment also enabled that it could be published on many channels and be easily distributed. The second purpose of the survey was to retrieve quantitative data that could complement the qualitative experiment. Meaning that the quantitative data contained
information about the participants’ user behaviour when using YouTube and Spotify and their daily use of technological devices. By implementing these questions in the survey, it served a second purpose. From the data that was retrieved from the 46 responses, it provided a more general overview that was considered valuable for the research.
Robinson & Mendelson (2012) mentions the hybrid-method design (See table 1) where four stages of the mixed method were presented. They also mention that the model can be modified according to size and resources. This is something that has been carefully thought out and what differentiates this study’s research design from Robinson & Mendelson’s is that the fourth phase was not executed. The fourth phase was not included in the study due to the fact that the participants were not encouraged to use virtual reality equipment after the experiment. The purpose of the study was to find out how they perceive virtual concerts, with their first impressions being of primary interest.
A mixed method was considered as a suitable research strategy for this study, it enabled the study to merge two methods into one. The qualitative data has provided more evidence and clarification to the study as well as during the research. The quantitative methods have been beneficial for the researcher in terms of giving a more general overview. This helped the researcher make decisions and have a more critical point of view when analysing the retrieved data.
3
State of the art of virtual reality and prior
research
This chapter presents the state of the art of virtual reality. This is beneficial as it helps grasp the current situation, detect patterns and what has been already researched. To complement the section, reliable sources from news and websites with a strong focus on technology and innovation, have been retrieved.
3.1
Virtual Reality
Virtual Reality is an experiential medium, which grasps the user and pulls them into a second reality (Milk, 2016). “Virtual reality is going to play an important role in the history of mediums. In fact it is going to be the last one.” (Milk, 2016)
Virtual reality (VR) refers to the 360-degree technology and relies on computer software to generate and replicate a realistic environment in both images and sound (Bolter, Grusin & Grusin, 2000, p. 4). The purpose is to simulate the user’s physical presence in the environment by enabling the user to explore and interact with the virtual world. The technology allows the user to look around in the artificial world and feel completely immersed. (Milk, 2016)
According to Billinghurst, Clark & Lee (2014, p. 80) Augmented Reality (AR) is similar to VR but instead of immersing the user in a virtual environment, AR uses virtual objects and transfers them onto the users’ reality. VR replaces a reality with another, whilst AR enhances reality with digital elements. In order to grasp these two techniques and retrieve a deeper understanding, Milgram and Kishino created the concept ‘Mixed Reality’ thus placing them in context with other realities (See figure 1).
Virtual Reality is considered a medium, different from the physical world (Serafin, Erkut, Kojs, Nilsson & Nordahl, 2016, p. 27). VR can depict any environment needed using simulators to affect the user’s hearing, sight and touching. The user is given a head-mounted display (HMD) that uses head tracking to locate where the person is and how she moves. (Bolter et. al, 2000, p. 2) The HMD only enables sight and it is often used together with headphones to provide sound and make the experience more immersive. The purpose is to isolate the user from any kind of stimulations from the real world. (Serafin et. al, 2016, p. 22)
Virtual reality has been predicted as the new medium for several years, but is now a platform that has received billions in funding (Valcarcel, 2015). With over 50 years of experience and technology it has now evolved from a concept of creating an immersed environment through painting, being a heavy machine to now being accessible on all kinds of different devices. (Serafin et. al, 2016, p. 22) According to Berthaut & Hachet (2016) the year 2016 has been predicted as the greatest booming year for virtual reality. More and more companies invest time and money into producing virtual reality in different formats. Burns (2016) states that VR could be a game changer even in the sports industry, if not the biggest one, for consumers and how they consume content both offline and online.
3.1.1
Design principles
Virtual reality for consumers is becoming more and more popular. This also means a risk of creating too much content that don’t reach up to the standards of virtual reality design
principles. Resulting in different interface systems that leave the consumer disoriented. (Steed et. al, 2016)
The most important feature of VR is the potential for visualization and the exploration (Serafin et. al, 2016, p. 23). A virtual world can be created by many different techniques, but the design principles always state the same thing. When designing for VR it is not only stressed that the sound and image should be implemented - also, more aspects need to be included in creation of virtual user experiences. Touch, mapping and motion need to be part of the equation. Solely watching 360-degree videos is not considered the same as exploring a virtual world. Virtual reality replaces the real world and immerses the user into a new virtual world by using headsets and headphones. (Serafin et. al, 2016, p. 26)
Seo & Kim (2002, p. 379) states that in order for VR to be considered as a media technology, structural approaches regarding design and guidelines should be prioritized.
Serafin et. al (2016, p. 26) states the important aspect, that most developers forget about the aspect of making VR a social experience. Virtual reality blocks any visual communication with the outside world, making it a mostly an individual activity. By sharing the experienced presence and creating “co-presence” VR can facilitate more interactions between individuals.
3.1.2
Display
In order to let the user render and experience a better experience, large displays is an important component when it comes to the HMDs. The use of larger displays allows the user to render more information. However, producing a higher-level display with more pixels per inch is, according to Schneider, Cernea & Ebert (2016, p. 390) very expensive and time-consuming.
The HMDs on the market with larger displays are the Oculus Rift, HTC Vive and Playstation VR. They are also, one of many, which only connect either to a computer or a gaming console. This also means that they lack support of mobility and redeployment. (Schneider et. al, 2016, p. 391) A study investigated if a virtual screen could be an alternative for larger display HMDs, an experiment was conducted with eight participants. The purpose was to complete 60 different tasks on a virtual screen and compare the completion time with an HMD. After the experiment data was collected through a questionnaire to retrieve subjective feedback. (Schneider et. al, 2016, p. 393)
The participants had experience in working with computers and were exposed to a computer screen on a regular basis. The result showed that 75% of the participants experienced that they performed the tasks faster within the virtual screen and on some tasks they even began counting on the display with their fingers, feeling more immersed in the environment. The results also showed that a larger display is suitable for tasks or even games, when it is a requirement to be focused and render information faster. (Schneider et. al, 2016, p. 393)
3.1.3
Head tracking
Most of the HMDs of today use a head tracking display (HTD). The purpose of using head tracking on HMDs is the location-based experience that it enables. The techniques tracks the movement of the users head and renders an image. (Wartell, Hodges & Ribarsky, 1999).
Some VR systems generate images for each eye, creating a split view, making it more comfortable for the user and minimise the sense of nausea and headache. It is common that a user will experience diplopia (i.e double vision). This occurs when a virtual object is distanced from the other objects in the display and the eye separation that the computer renders for viewing creates a glitch (Wartell et. al, 1999).
Stereoscopic displays have been said to improve the users experience and the way users perceive depth in virtual worlds. The head-tracking device in stereoscopic displays calculates the users’ head position and extracts the point zero. (Rojas et. al, 2013) When the user is moving around and exploring, the digital objects adapts to the user in terms of shifting angles. Almost transforming them into moving 3D-objects. The benefits from using stereoscopic displays in a HMD are better image resolution and overall quality. Stereoscopic displays play an important part in virtual reality (Wartell et. al, 1999).
3.2
Virtual Reality Hardware
There are multiple ways in which a user can experience a virtual world today, through a computer, a smartphone or even through a HMD, reaching a higher immersed experience (Bolter et. al, 2000, p. 2). According to Schneider et. al (2016, p. 391) HMDs allows the user to explore their virtual environment (VE) and offers the best immersive experience. There is a wide range of models and different models for different situations and users. The two most common ones and more consumer friendly are Google Cardboard and Samsung Gear VR.
Google Cardboard is a product of Google and is a head-mounted display (HMD) for a smartphone (See figure 3). The construction is fairly easy to assemble and Google even urges people to try themselves and make their own by using specifications published by Google and cardboard material. The Cardboard is Google’s most common and inexpensive model on the market. (Wired Magazine, 2016) According to Wired Magazine (2016) the cardboard is built by simple and low-cost components, making it the cheapest virtual reality platform on the market. The main purpose with the product was to encourage interest and further development in VR-productions. Place the smartphone in the back and fold the cover over, it attaches on top with velcro, holding the smartphone in place during the experience. The Google Cardboard can handle displays up to 6 inches. The resolution solely depends on what type of smartphone that is used.
Figure 3: Illustration of the head mounted display: Google Cardboard.
The Samsung Gear VR (e.g Gear VR) is a head-mounted display (HMD) for smartphones (See figure 4). It was created in collaboration with Oculus and the consumer product launched in November 2015. The concept with the Gear VR resembles the Google Cardboard in how the user places the smartphone in the back and view through the two lenses in the front. What differentiates the Gear VR from the Google Cardboard is that the smartphone sits more comfortable in the shell and the risk of it moving reduces. (Valcarcel, 2015)
Samsung Gear VR connects to the smartphone via a micro-USB to locate and track the
movements more accurate. An elastic band and padding for the eyes, makes the Gear VR more comfortable for the user, leaving hands hanging loose. It also has buttons and a track pad on the sides, transforming the Gear VR into a controller. The Gear VR is only compatible with
Samsung smartphones. (Valcarcel, 2015)
Figure 4: Illustration of the head mounted display: Samsung Gear VR.
There are models that require a stronger processor to present high-quality videos and experiences. One of them is the Oculus Rift. The Oculus Rift (e.g Rift) is a virtual reality headset, a product from Oculus. The product was designed to be as comfortable as possible for the user to wear. The Rift does not require a smartphone; it connects via a HDMI and a USB cable to a computer and a motion sensor. (Rubin, 2016; Prasuethsut, 2016).
The other one is called HTC Vive. The device is equipped with a camera near the bottom rim. The front facing camera allows the software to detect moving objects from static ones. It is used with two handheld controllers and with the help of two motion sensors. This enables the
possibility for the user to interact more with the virtual environment. (Spoonauer, 2015)
Somewhere in the middle between smartphone compatible and PC-driven headsets, you’ll find the Playstation VR (PSVR) (Sin, 2016). It connects to a Playstation 4 console and a motion sensor detects the user and her movements, making it the first ever headset for consoles (Lang, 2016).
3.3
Virtual Reality Software
Applications, games and videos are the most common VR softwares. Google has their own application, which supports 360-videos and is compatible with the Cardboard (Plaugic, 2015). Then there is VRSE, an application that mainly focuses on putting the observer in new
environments, telling a story and tries to introduce new perspectives for the user. Even the New York Times wanted to invest more in digital journalism and launched their first VR-app in November 2015 with virtual news. (Robertson, 2016)
According to Broida (2016) YouTube also supports viewing in 360° and have implemented a Google Cardboard button to activate whilst using a HMD. The differences between viewing in 360° and activating the Cardboard button is that it enables a more comfortable viewing for the user by using a split view (See figure 5).
3.4
Music performance in virtual reality
Janer, Gomez, Martorell, Miron & de Wit (2016) explore the possibility of combining classical music, such as a symphony orchestra with VR technology, to enable a more immersive
experience with 3D sound. They mention that it is crucial to capture the movement of sound in a correct way, meaning the way it was intended to. With the help of body tracking in the HMD, the user can easily turn ther head in the direction of the incoming sound based on angles and distance to the instruments on stage. According to Berkowitz (2016) the correlation between music, sound and physical space has been a concern for composers and artists. They often do not have the knowledge to create music in a virtual space. Music is an art form as well as a social experience; it is of great importance that a virtual world incorporates these aspects when evolving (Janer et. al, 2016). Interactive 3D environments open up musical performances to more opportunities when combined with spatial interfaces and movements (Berthaut & Hachet, 2016).
3.4.1
3D and spatial sound
Sound motion through a virtual space can be used to enhance performances, especially within traditionall and contemporary music (de Gotzen, 2004, p. 5). Spatial sound is used to place hotspots of sound around the user, choreographing the experience and making room for exploration to take form (Milk, 2016). Berthaut & Hachet (2016) discuss three different circles of 3D sound and the amount of interactivity within each circle (See figure 6). They are all equally important for the user experience.
The first circle connects the musician, whose gestures and facial expressions generate sound. The energy of the gestures transforms into vibrations (Berthaut & Hachet, 2016). According to de Gotzen (2004, p. 5) gestures refers to dance movements or a specific body expression. The connection between body movements and music is explicit.
The second circle is optional; it includes the band and connects with the musician. It is optional depending on what performance the user is watching, for example an acoustic performance or a rock band. The sound from the digital instruments, depending on where they are located on the stage, creates a more spatial sound. The determination of how the sound will flow in the virtual space is finalized in the third circle.
The third circle connects the spectators to the performance on stage. Within this circle the audience will experience the vibrations from the musician’s gestures and the synchronization between the band members. (Berthaut & Hachet, 2016)
3.4.2
Presence and immersion
When it comes to virtual reality, the word ‘presence’ is often mentioned and is often seen as an abstract word to loosely describe a state of mind. Presence is also a subjective thing and depends solely on the user and past experience and can be seen as a degree of technological immersion that the system offers to the user. (Serafin et. al, 2016, p. 28)
A related study about presence and immersion, conducted an experiment were the participants had to sit in a virtual karaoke bar and listen to a singer through a Google Cardboard or a Samsung Gear VR. During the experiment the singer on stage began to interact with the participant, movements in the environment were purposely placed to affect the user in some way. Half of the participants were experiencing the virtual bar as an avatar, the other half were not - as if hanging loose in mid air. (Steed et. al, 2016)
The result showed that the users that had the experience as an avatar, was more affected by the movements in the environment. A box was placed near the participant and when it started to fall on the avatars hand, the majority of participants moved their own hand as a natural reflex. This was an important impact on the participants, meaning they were in a state of a physical presence in the virtual world. (Steed et. al, 2016)The interaction with the singer, showed no affected results. The singer was approximately five meters away from the audience and the participants could not make out any facial expressions due to the low resolution of the device. (Steed et. al, 2016)
By allowing navigation in an Interactive Virtual Environment (IVE), it is important that there is some technique behind for the user to navigate in a HMD (Zielasko, Horn, Freitag, Weyers & Kuhlen, 2016). The interaction with the singer was a one-way communication. There are no technologies behind it making it a two-way communication, in other words: Virtual Reality does not support face-to-face interactions between users wearing a HMD (Li et. al, 2016).
Taylor et. al (2016) claims that displaying virtual objects for a user is important but we must now forget the user’s need to interact with it. It needs to be as natural as possible. Handheld controllers has peaked many interests, both in academic as commercial, and increases the user experience in a virtual world. Similar to how some games and videos use an avatar, handheld controllers makes it a more natural environment in terms of seeing your virtual hands react to your own movements and pick up a virtual pen.
3.5
Music consumption
How the consumers are experiencing music today is correlated to preferences. In terms of experiencing music, it needs to be addressed that individuals differentiate in their way of making use of digital solutions to their music preferences. Individuals with a wider music preference may use a music streaming service with an extensive library. Others with a more specific artist preference may lean toward using physical formats. (Tkavc Dubokovic, 2015, p. 31)
The evolution of music consumption has evolved due to the digital media reshaping its predecessors. Remediation refers to digital media being reshaped. Similar to how a film that is based on a book, is remediating an old media and reshaping a new media. (Bolter et. al, 2000, p. 4) In the beginning of the MP3-player, the digital age reshaped how we distribute music by reducing the file size for more storage and easier managing of music across multiple devices. This solution resulted to peer-to-peer (P2P) online sharing and the rise of pirated music sharing sites as Napster and KaZaa. (Stafford, 2010, p. 113) Technological innovations tend to be either the end of a business model or the beginning of new opportunities (Tkavc Dubokovic, 2015, p. 4).
4
Result
In this section the results from the survey, the focus group discussions and the two qualitative expert interviews will be presented below. To get a better understanding about the overall result, visual figures will be displayed and complement the numerical results.
4.1
Survey and recruitment tool
From the survey 61% identified themselves as female, 37% as male and 2% as other or non-binary. The majority were in the age 23-28 (See figure 7).
Figure 7: Diagrams of gender and age balance in the survey.
All of the respondents owned a smartphone, 98% had a laptop and 72% had a TV at home.
A total of 93% answered that they use Spotify. The majority of the people listen to Spotify 10-20 hours per week and 30% listen for about 5-10 hours per week. A total of 98% used YouTube and the majority of them responded that they use the service 0-5 hours/week (See figure 8).
The most common video that people watch on Youtube was “Music” with 69%, this it a very general category and can be interpreted in many different ways. This question enabled the person to choose multiple answers (See figure 9).
Figure 9: Diagram over the most common watched videos on YouTube.
98% of all the respondents had been to a music concert or performance before, 27% responded that they attend a concert approximately 2-3 times/year, equally as much people responded that they rarely goes to concerts. 13% responded that they attend a concert 4-6 times per year and equally as much people attend a concert more than 7 times/year (See figure 10).
The result from a question regarding the respondents past experience with virtual reality, showed that 54% had never experienced VR before. The survey ended with a question if the respondent could imagine being a part of a VR-experiment and a focus group discussion, 70% responded ‘No’ and the other 30% were interested in participating (See figure 11).
Figure 11: Diagrams. Peoples encounter with VR before and the interest of exploring it in the study.
4.2
Qualitative experiment and group discussion
The result of the experiment generally consists of open-ended findings from the group discussion. The findings have been sorted into different categories and themes.4.2.1
Head Mounted Displays
Mostly positive feedback was retrieved using the Linocell VR Pro with straps, some argued that the equipment was too heavy or that they experienced high pressure around the eyes. Others argued that the Google Cardboard was an equipment more suitable for children or if someone wanted to bring a VR-headset with them; due to its foldable design. Others argued that it interrupts the experience. “It took away from the experience that you had to hold it (Google Cardboard), on the second one you did not have to make any effort and just be in it.” (Respondent: B1, 2016).
On the Linocell VR Pro, some participants noticed the outline of the smartphone, decreasing the feeling of being immersed. Another participant noticed the cut-out function within the
Cardboard that only framed the visual display and blocked the smartphones outline, making it more user friendly.
4.2.2
Content comparison
When the participants were asked if they felt immersed anytime during the two experiences, the majority felt that the musical performance had better quality. Due to the fact that the user was on stage and the performers were constantly moving. They felt more solidarity, a part of the ensemble and thus more immersed. Others argued that the music concert with Kygo felt more immersed, because it was a situation that felt more real to their own reality. “It was a more realistic atmosphere that I'm more used to and I could therefore in some way buy the fact that I was there even though the quality was poor. Just turning your body a little to the music, automatically you get into it. But not as much in the Lion King, I did not experience the same feeling there.” (Respondent: A2, 2016)
Picture and image quality is very important, in the second one with Kygo. I saw nothing. Momentarily, it became blurry. But of course, I thought this headset was annoying too (Linocell VR) and it affects the experience as well. The Lion King had much better quality but then again it was tough sometimes. Suddenly, you were on one side of the stage and then on the other side, then you had to twist your body around and "What did I just watch?"
Respondent: A1, 2016
“I got more lost into the concert; I lost more grip of reality. In The Lion King I was interrupted in the middle of my exploration. When I turned around and would look at a performance, I was suddenly interrupted and moved into a new spot.” (Respondent: C3, 2016)
They also argued that they would never be in a situation where they would be on stage with the performers in real life, but being a spectator beside the stage gave them more in terms of realness. Someone pointed out the fact that they wanted to go near the singer and see the facial expression; this was an important aspect that referred to the demand for higher quality and interaction.
“Maybe you can be very close, like seeing the singer's face and facial expressions. Perhaps pan (like a camera technique) and follow the singer as she goes on stage. Offer the user a more intimate experience, even though one is not there. So I thought the concert was a bit boring, I wanted to move, go back and get even closer and see what happened over there. That was why I liked The Lion King more; I was right in the middle and constantly moving.” (Respondent: B2, 2016)
4.2.3
Motivation
When the participants were asked if they felt more motivated to go and see the music concerts, there were many positive responses. However, it also depends on the participant’s former music experiences. One participant explained that when she goes to a concert, she attends for the purpose of the experience and the people that come together. She listens to heavy metal and the videos that were shown were more towards the pop and mainstream genre. However she could see the possibility of using the equipment if it allowed her to get better seats at the concert, for example experiencing the concert from the golden circle area.
Other participants in another group also spoke about this possibility, how it would be marketed and what they would be able to pay for this experience. Majority of them concluded that they would want something more, they would want to experience the concert or the performance from the best seat and be giving a tour behind the scenes or the opportunity to talk to the artist and performers backstage. One participant brought up the idea of selling the concert in VR at the merchandise area, allowing people to re-experience the concert but at home.
One participant brought up the risk of selling the material as a digital file. “It’s just that, if I would have been with my friends and everyone wanted the file. I could just buy it, share it and then the entire world would have access to it. I think it needs to be protected with an app in some way.” (Respondent: A1, 2016) This response was a reference to the illegal downloading and sharing that occurs and the respondent also stated that there would be bad people trying to break the system.
4.2.4
Social experience
Some of the participants are frequent attendees of concerts and music performances, however there are some times when they cannot attend a concert. The majority of them said it is because of the geographical placement of the concert or due to the ticket price. Also, they added that sometimes it is because none of their friends are interested in attending so they decide not go, to prevent the feelings of exclusion and loneliness.
When the participants were asked if they would have the same feelings when experiencing the concert in a VR-equipment, one participant commented that they would not want to be placed in the audience. “Being in the middle of the audience will make you more reminded of that you are not actually there. I think. If you have been to a concert before, it is still a feeling and you affect other people. Or it well, smells in a different way and you hear sounds in the background that interferes. It also reinforces that feeling when people sing along. You would probably feel very lonely, that you are sitting there watching with a VR equipment but you are not there will probably be more noticeable.” (Respondent: B3, 2016)
Another participant discussed the possibility of having a live VR-concert at home with friends. How they could imagine it being used as a home device for entertainment and relaxation. The majority of the participants were positive towards making it more of a social medium in the future. Some argue over it being a physically demanding experience, standing for hours and experiencing VR for two hours, another one thought of other possibilities for VR and performances. “Imagine a classical concert, for example, I would go and watch a ceremony quartet as long as the camera was placed in the middle of a semi-circle as they sit in. I would to pay quite a lot for that, and you would get a very close and intimate concert. That would have been quite nice to experience.” (Respondent: C1, 2016)
Another respondent referenced to the sing-alongs that people can experience at movie theaters. “Imagine sitting in a cinema and experiencing VR together with your friends. You would all experiencing the same exact world or video and share the experience together. Like how they do with the sing-alongs at movie theaters. You would all be sitting there with headsets and
headphones, but could still hear each other through microphones. That would be cool.” (Respondent: C3, 2016)
4.3
Expert Interviews
Fredlund (2016) a virtual reality producer and 360-videographer, explains that how a user experience VR, is different from how they would experience a movie or a game. Virtual reality is not a new thing but because of the technology that we posses today, the evolution of VR makes it more accessible and scalable to the public.
