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Glavni potrošni produkt glasbene industrije je bila nekoč posneta glasba, danes pa so središče glasbene industrije, zaradi pojava novih tehnologij, medijev in s tem povezanih trendov, postali koncerti. Njihovo število se je v zadnjih desetletjih močno povečalo, glasbenikom pa predstavljajo poglaviten vir zaslužka. Izbruh pandemije novega koronavirusa v letu 2020 je prizadel marsikatero industrijo, med drugim tudi glasbeno, saj je bila zaradi ukrepov za preprečevanje širjenja novega koronavirusa odpovedana velika večina koncertov. To je prineslo številne posledice, brez prihodka so ostali tako glasbeniki kot koncertna prizorišča, posledice pa so občutili seveda tudi ljubitelji glasbe in koncertov. V magistrski nalogi me je tako zanimalo, če in kako respondenti poizkušajo nadomestiti izpad koncertov popularne glasbe, ki so v času pandemije odpovedani ali prestavljeni. Poleg tega je bil cilj ugotavljati, če in kako omenjena kriza vpliva na morebitno ponovno vrednotenje pomembnosti koncertov popularne glasbe v vsakdanjih življenjih respondentov. V raziskavi, ki sem jo izvedla preko spleta je sodeloval 801 respondent. Vprašalnik je bil sestavljen iz vprašanj odprtega in zaprtega tipa. Pri analizi je bila uporabljena opisna statistika z grafičnimi prikazi. Rezultati kažejo na to, da respondenti koncerte v veliki meri pogrešajo in posledično koncertno izkušnjo poizkušajo nadomestiti. V manjši meri so jim koncerti bolj pomembni, kot so jim bili pred pandemijo. Cilj naloge je bil raziskati koncertno dogajanje tako v tujini kot v Sloveniji in postaviti okvir morebitnim nadaljnjim raziskavam o udeležbi na koncertih med pandemijo novega koronavirusa. The main consumer product of the music industry was once recorded music, but today, due to the emergence of new technologies, media and related trends, concerts have become the center of the music industry. Their numbers have risen sharply in recent decades, making them a primary source of income for musicians. The new coronavirus pandemic in 2020 affected many industries, including the music industry, as the vast majority of concerts were canceled due to measures to prevent the spread of the new coronavirus. This brought many consequences. Both musicians and concert venues were left without income, and the consequences were, of course, also felt by music and concert lovers. In my master's thesis, I was interested in whether and how respondents try to compensate for the loss of popular music concerts that are canceled or postponed during the pandemic. In addition, the aim was also to investigate if and how the crisis affects the possible re-evaluation of the importance of popular music concerts in the daily lives of respondents. The survey which I conducted online, involved 801 respondents, the questionnaire consisted of closed-ended and open-ended questions. In the analysis I used descriptive statistics with graphical representation. Results show that the respondents largely miss concerts and try to substitute the concert experience. To a lesser extent, concerts are more important to them after, than before the outbreak of the new coronavirus pandemic. The aim was to investigate concert events both abroad and in Slovenia and to set a framework for possible further research on concert participation during COVID-19 pandemic. |
