Digital presentation of the Belgrade Philharmonic in the period of concert bans

Jelena Milašinović
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Abstract

The paper focuses on the COVID-19 pandemic impact on performing arts, notably the emergence of new presentation forms devised while concert activities were suspended, referring to the example of philharmonic orchestras. Owing to totalizing digitalization, which has shifted the entire production and reception of the performing and listening experience to the online sphere, the role of the audience also undergoes a shift from a collective to a virtual entity. The text, firstly, maps the emerging practices and explores their impact on changing the very sensory perception of new media content consumed in virtual reality. The focus of the paper is on redefinition of the PR department from communications towards the roll of the curator of the online presentations and the digital content and overall activities of the orchestra. The case study examines the example of the Belgrade Philharmonic Orchestra by analysing its digital presentation and communication strategy between March and June 2020. The goal is to identify the contributions of new practices, whose combination with the traditional ones could result in long-term audience and public relations development and enhancement of musical performance presentation. By continuously producing new contents for different target groups, without a single concert held in this period, the Philharmonic successfully attracted new audience and turned a crisis into an opportunity for interaction with new users, thus generating growth on all platforms. The conclusion provides a predictive analysis of return to normality, after the digital transgression experiences. It is recognized that music institutions will strategically develop their digital concert halls as new entrepreneurial models. As competition in this sphere brings PR departments to the fore owing to the need to work with complex algorithms, the digital ethical dilemma will intensify as a burning issue in the context of demographic data collection.
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贝尔格莱德爱乐乐团在音乐会禁令时期的数字展示
本文以爱乐乐团为例,重点分析了新冠肺炎疫情对表演艺术的影响,特别是在音乐会活动暂停的情况下,出现了新的表演形式。由于数字化的全能化,将表演和聆听体验的整个生产和接受转移到网络领域,观众的角色也经历了从集体到虚拟实体的转变。首先,本文描绘了新兴实践,并探讨了它们对改变虚拟现实中消费的新媒体内容的感官感知的影响。本文的重点是重新定义公关部门,从沟通转向在线演示和数字内容的策展人,以及管弦乐队的整体活动。本案例研究以贝尔格莱德爱乐乐团为例,分析了其2020年3月至6月期间的数字展示和传播策略。目的是找出新实践的贡献,这些新实践与传统实践相结合,可以长期发展听众和公共关系,并提高音乐表演的表现。通过不断为不同的目标人群制作新的内容,在此期间没有举办一场音乐会,爱乐乐团成功地吸引了新的观众,并将危机转化为与新用户互动的机会,从而在所有平台上产生增长。结论提供了一个回归正常的预测分析,在数字越轨的经验。音乐机构将把数字音乐厅作为新的创业模式进行战略性发展。由于需要使用复杂的算法,这一领域的竞争使公关部门脱颖而出,数字道德困境将在人口统计数据收集的背景下加剧,成为一个亟待解决的问题。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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