Codebook
收藏资源简介：
This codebook includes a table of the codes used, the definitions of codes, examples, themes, and a brief description of the coding method. Paper title: The show must go on(line): livestreamed concerts and the hyper-ritualisation of genre conventions Dates of data collection: 20 March until 17 April 2020 Software used analysis: ATLAS.ti The codebook was used for a paper that examines audience engagement at livestreamed concerts, a form of mediatised cultural consumption that saw an immense growth in popularity during the COVID-19 pandemic. In this paper, we use microsociological approaches, from a Durkheimian and Goffmanian tradition, to analyse the social interaction seen on the chat section of livestreamed concerts on Facebook Live. We compare livestreams from classical music and Dutch levenslied. We selected livestreams from the Facebook profiles of, i) an established classical music concert hall, and ii) a radio station specialising in levenslied. To achieve a comparable sample of comments per genre, only the first five videos posted after the initial lockdown are used, spanning a period from 20 March until 17 April 2020. The final sample contained 2,075 comments (classical music n=885, levenslied n=1190). Discourse analysis is used to see how the participants use language to construct and frame their virtual concert experience. We adopted an inductive approach, starting out with a thorough reading of the synchronous comments to become familiarised with the data. The comments are seen as social practices and thus we analysed both their content (what participants talk about) and organisation (how participants communicate). An initial phase of coding was carried out, based on both the variability and consistency between the discourses used by the (classical and levenslied) audiences. This method allowed us to develop themes and patterns within the data, resulting in 24 code groupings. These groupings were then revised reflecting on the content and organisation of the comments. As regards the organisation of interaction, we paid attention specifically to the length of an interaction, distinguishing between short interaction (lasting only two comments) and prolonged interaction (lasting longer than two comments), while also taking into account how many individual audience members were involved. This resulted in three overarching themes that fall under content: i) ritual activities, ii) shared symbols, iii) expressed satisfaction/dissatisfaction of event, and three overarching themes that fall under organisation: i) interaction, ii) rhythmic entrainment, and iii) social/individual engagement.
本编码手册（codebook）包含所用编码表、编码定义、示例与主题，同时附带编码方法的简要说明。论文标题：《演出必须继续（线上）：直播音乐会（livestreamed concerts）与类型惯例的超仪式化》。数据采集时段：2020年3月20日至2020年4月17日。分析所用软件为ATLAS.ti。 本编码手册应用于一篇探讨直播音乐会受众参与度的学术论文——直播音乐会作为一种媒介化文化消费（mediatised cultural consumption）形式，在新冠疫情（COVID-19 pandemic）期间迎来了爆发式的受众增长。该研究采用涂尔干式（Durkheimian）与戈夫曼式（Goffmanian）传统下的微观社会学方法，对Facebook Live直播音乐会聊天区内的社会互动展开分析。研究对比了古典音乐与荷兰抒情民谣（levenslied）两类体裁的直播内容。研究选取了两类账号的直播素材：其一为知名古典音乐厅的Facebook官方主页，其二为专注于抒情民谣的广播电台官方主页。为确保两类体裁的评论样本具备可比性，仅纳入首次封城后发布的前5条视频，采集时段与前述一致，即2020年3月20日至2020年4月17日。最终样本共包含2075条评论（古典音乐类n=885，抒情民谣类n=1190）。 研究采用话语分析（discourse analysis）方法，考察参与者如何运用语言构建并诠释其虚拟音乐会体验。本研究采用归纳式研究路径：首先通过全面研读同步评论以熟悉数据集。研究将评论视为社会实践，因此同时分析其内容维度（参与者的讨论主题）与组织维度（参与者的沟通方式）。首轮编码基于古典音乐与抒情民谣受众话语的差异性与一致性展开，该方法助力研究者从数据中提炼主题与模式，最终形成24个编码组别。随后结合评论的内容与组织形式对这些组别进行修订完善。 针对互动组织维度，研究重点关注互动时长，将其区分为短期互动（仅包含2条评论）与长期互动（评论数超过2条），同时考量参与互动的个体受众数量。最终形成三大核心内容主题：一、仪式活动；二、共享符号；三、对活动的满意/不满表达；以及三大核心组织主题：一、互动；二、节律同步（rhythmic entrainment）；三、社会/个体参与（social/individual engagement）。
