Providing a rich experience to the audience using new technology can contribute to the revitalization of the market. Although various attempts are being made in the performing arts industry to incorporate virtual reality(VR) technology in order to max... Providing a rich experience to the audience using new technology can contribute to the revitalization of the market. Although various attempts are being made in the performing arts industry to incorporate virtual reality(VR) technology in order to maximize the value added, there has not been sufficient amount of relevant research. Although the musical market is the most vital of the performing arts markets with a market share higher than 45%, its constant growth has been hampered as numerous problems have trapped it in a vicious cycle. Therefore, it is now necessary to identify a market revitalization strategy for the steady development of the musical market within an environment of shifting industry paradigms. For this purpose, this research attempts to explain the technology acceptance intention of the audience through market analysis from the ecosystem perspective and empirical analysis based on the unified technology acceptance intention(UTAUT) model that shows the necessity of utilizing new technology in the musical market. Its other objective is to verify whether there is any meaningful variation caused by the type of audience. This research has set the following research problems: 1. How is the future ecosystem of the VR-based musical market organized? 2. What is its correlation to the technology acceptance intention of the audience that consumes the VR technology? To solve the above problems, I successively performed Research 1 that creates a model of the VR-based musical market ecosystem and Research 2 that empirically analyzes the new technology acceptance intention in the musical market. In Research 1, I considered the theories on the ecosystem and relevant models in order to develop a model of a musical market ecosystem that incorporates VR and designed a conceptual model of such a market based on the service value networks of Basole & Rouse(2008). Then, I applied the conceptual model to the VR-incorporating musical market to organize the entities involved and design a To-Be service value network model. Two stages of in-depth interviews were conducted with 12 musical and VR experts for this purpose. As a result, in the domain of "Tier 2 Enablers," which deals with the software of the musical market, HMD technology, one of the VR technologies targeted in this research, is used to film an original musical performance at a 360° angle. Then, VR content is created out of it and offered to the consumers. This means that the VR technology did not have a direct effect on the software because it simply filmed the completed performance. In "Tier 1 Enablers," which is a production stage, VR content requires a camera that supports 360°-angle filming to be installed in the theatre(on the stage, on the auditorium, etc.) to film the actual performance unlike conventional digital content(video, DVD, movies, etc.). Therefore, this requires additional labor from relevant fields such as 360°-angle camera experts and developers, video stitching and editing experts, and related software developers. In the “Service Provider” domain, which is the distribution stage, utilizing HMD, a VR technology that increases the immersiveness and sense of reality, and providing video content through online platforms can increase the value added. In the domain of "Consumers," introducing the HMD VR technology could enable them to purchase the VR content and watch it at a location and time convenient to them without being tied to the physical theatre. In addition, VR content platforms and utilization of various devices to purchase the desired performances lead to a distinction between a possession market and an enjoyment market. Research 2 reinforced the explanatory capabilities of this research model by adding the influencing factors of the new technology derived from the ecosystem analysis of Research 1 to the UTAUT model measuring the technology acceptance intention, thus reflecting the characteristics of the musical. Research 2 sought to verify how the influencing factors affect the technology acceptance intention depending on the type of audience. Based on previous research, this study conducted an empirical research by setting independent variables(promoting conditions, predicted result, predicted effort, social effects, individual innovativeness, and individual anxiety), a mediating variable(intention of use), and a dependent variable(actual use). For this purpose, data have been collected from 309people residing in Seoul and Gyeonggi province, which include students, the self-employed, freelancers, office workers, housewives, etc.,in their 20s–60s, and statistical analysis has been conducted using SPSS 18.0 and AMOS 18.0. The result of the research indicates that when the necessary conditions for the musical audience to use HMD are met and the technology is user friendly, there is sufficient intention in the audience to watch the musical performance using the VR technology. In addition, when the popularity of HMD rises and its usage in the audience's surrounding increases, the aforementioned intention will increase further. However, there appeared a tendency among the audience to feel anxiety about watching performances using VR if such change in the surrounding and adaptation to the technology takes too long. Considering the result of the research on the types of audiences, the enthusiastic audience is a type that has a strong intention to use HMD to watch more performances efficiently if the necessary conditions to utilize the VR technology are met, regardless of the people in the surrounding, ease of use, or anxiousness about the adaptability to the change in the way they watch a performance. The interested audience is a type that wishes that the VR technology is adapted to musical performances as soon as the necessary conditions are met. This type’s use of the technology is highly likely to depend on the reaction of the surrounding people, but this audience does not express concern about the technological aspects. Lastly, the uninterested audience is a type that, along with the enthusiastic audience, has an intention to use the VR technology once the necessary conditions are met, but that is skeptical about its immediate adaptation. This type's use of the technology, similar to the interested audience, is highly likely to depend on the reaction of the surrounding people, but this audience does express anxiety concerning the change and adaptability of the technology. This research is the first empirical research that approaches the issue of revitalization of the musical market from the perspective of the technology acceptance intention of the consumers. I hope that the result of this research will lead to more interest in and attempts at the incorporation of new technology to musical performances on the part of its practitioners and producers. In addition, various ministries of the Korean government should systematically establish support programs that enable pioneering attempts. These changes will be the foundation from which the original Korean musicals will be able to spread worldwide, and this will also have a large impact on economic competitiveness and the public image of the nation. It is my hope that this research will act as the first step toward revitalization of the musical market and its constant growth leading to the formation of a virtuous cycle ecosystem.
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