GDD730 Module:2 Week:6 The Practice Pitch

This week I have started to review and analyse the data collected in the online survey. Talking about the results and questions asked with the broader Team, I have realised that I should have focused more on the end product. Due to time restrictions, I have not been able to conduct additional research. So to support our proposal, I have looked at live music events attendance pre-Covid and information on festival streaming. I have also researched other live music applications and usage of wearable tech at events.

To support our problem statement, I found research about links to music and wellness and emotional regulation. I think this is important after the challenging 18 months of living through the Pandemic and the restrictions.

Google Forms has been a brilliant tool it automatically creates statistics and graphs for quantitative questions. To accelerate the analysis of the qualitative data, I have used a word cloud application. I am working with Filsan, who wrote and has analysed the interviews. She has also taken my detailed research and condensed it to fit the pitch slides.

The themes that I have noticed are a strong positive emotional connection with reminiscing about an event. Excitement, joy, happiness, fun and euphoria were frequently cited in connection with feelings associated with live music events. It is more than just the music; other factors are stated about the enjoyment of an event. The people you attend with and collective experience are ranked as the most important factor outside the music. The participants also talked about feeling liberated, escapism and transcending.

The word transcending resonated with me and I put it forward as the name for our application. The team adopted it but change it to Transend.

The decision was taken to record a video due to the limited availability of spaces for live presentations. I worked with Matt on the development of the slide pack. I focused on the content and the narrative for the research slides. Kim, our tutor, explained to us that every statement we make should be backed up by research. As I was working on the slides, I discovered more information in some areas, so I continued to research as I worked on the slides.

I found the benefit of recording the pitch was I could do multiple takes however the drawback was that it was more time consuming.

The sources detailed in this blog post relate to the content of the pitch which can be accessed here


Vandenberg, F., Berghman, M. and Schaap, J., 2021. The ‘lonely raver’: music livestreams during COVID-19 as a hotline to collective consciousness?. European Societies23(sup1), pp.S141-S152.

Martínez-Castilla, P., Gutiérrez-Blasco, I.M., Spitz, D.H. and Granot, R., 2021. The efficacy of music for emotional wellbeing during the COVID-19 lockdown in Spain: an analysis of personal and context-related variables. Frontiers in psychology12, p.1193.

Lehman, E.T., 2021. “Washing Hands, Reaching Out”–Popular Music, Digital Leisure and Touch during the COVID-19 Pandemic. Leisure Sciences43(1-2), pp.273-279. 2019. Media Centre. [online] Available at: <> [Accessed 10 July 2021].

2021. ReviveLive_Survey_Report.pdf. [online] Available at: <> [Accessed 10 July 2021].

Humavox, 2017. Wearables and Music Festivals: What You Need to Know. Available at: <; [Accessed 7 July 2021].

P. Rubinstein, (2019). The Use of Technology To Enhance Music Festivals [Online]. YOUREDM. Available at: (Accessed: 7 July 2021).

J. Nafarrete, (2015). Reliving Coachella Through Virtual Reality [Online]. VR Scout. Available at: (Accessed: 7 July 2021).

2019. State of Play: Festivals UK. [online] Ticketmaster. Available at: <; [Accessed 7 July 2021].

D. Coletto, (2020). The Locked-Down Blues: Canadians, Live Music, and the Pandemic May 14, 2020 [Online]. Abacus Data. Available at: (Accessed: 7 July 2021).

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